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EVOLUTION

OF THE

TYPEWRITER

C. V. ODEN

AUTHOR OF "A TALK ON SALESMANSHIP" AND
"TYPEWRITER COMMTiNTS AND COMPARISONS"

"Some books are to be tasted, others to be swallowed,
and some few to be chewed and digested."

— Bacon.

DEC 14 191-7

C. V. ODEN

©CI.A47i>^4 -

FOREWORD

The contents of this book give the steps in the evolution
of the typewriter, and are the result of observation, study,
and conviction. The purpose is to answer in as concise
form as possible the many inquiries received with reference
to the history of the typewriter. However, this book is
not to be considered in any sense a history, for the reason
that many typewriters have been invented and many mar-
keted that are not mentioned. Those omitted have not, in
the author's judgment, contributed either mechanical prin-
ciples or educational assistance that would promote type-
writer development. On the other hand, consideration is
given some machines only because they have suggested
principles or ideas that have served to assist other manu-
facturers ; and others, from the fact that they received more
or less recognition from the public.

Practically unlimited numbers of patents have been
issued on typewriters and accessories, but to enumerate
them would require volumes, from which it would be diffi-
cult to assort and assimilate information of value.

The author gratefully acknowledges having drawn
from many sources in the preparation of this work, prin-
cipal among which are: Patent Records, Office Appliances,
Typewriter Topics, Phonographic World, History of the
Typewriter, the Franklin Institute, Mr. C. D. Rice, and
Mr. Charles E. Smith, author of "A Practical Course in
Touch Typewriting."

Having sold the first model of the first practical type-
writer, however, the facts contained in this book are based
chiefly upon the author's personal experience, gained dur-
ing a period of more than a third of a century of contin-
uous service in the typewriter business, and he has not
hesitated to express facts as he sees them.

The Author.

BUSINESS EVOLUTION

The development of the typewriter industry is so
closely interwoven with the history of modern progress
that it is impossible to separate them. In fact, the type-
writer is responsible for much of the remarkable progress
of the world during the last four decades. For this reason,
a synopsis of its development should be interesting to every
intelligent, progressive thinker.

The fundamental purpose of the typewriter is to en-
able the typist, or operator, to do more and better work
with less effort in a given time than cm be done with the
pen, and the value of the typewriter is measured by the
extent to which it increases speed and legibility in making
records or preparing messages for delivery.

It would be difficult for the present generation, with-
out reference to history or the experience of others, to
comprehend the evolution in social, educational, industrial,
and commercial progress during the last half century. The
telegraph, the telephone, the wireless, the aeroplane, and
the wonderful developments in steam and electrical con-
veyances have brought the nations of the earth into closer
communication with each other, and the typewriter has be-
come an absolute necessity for the preservation of the
records of such communication.

Telegraph and telephone messages must be confirmed
in writing for future reference and record to avoid mis-

understanding, and this easy means of communication has
greatly stimulated the development of transportation. As
evidence of these facts there is no business interest worthy
of note today that has not from one to many thousand
typewriters in use. For example, the Western Union Tele-
graph Company, whose mission it is to give the best possi-
ble service, both in speed and accuracy, in the receipt and
delivery of messages, purchased in a single order ten
thousand Underwood typewriters, and a repeat order for
several thousand indicates satisfactory service.

The development of communication in its various
stages, with the express purpose of saving time, is inter-
esting. In the days of King Henry VIII, before the
telegraph, the telephone, and the typewriter, official com-
munications were transmitted by messenger with instruc-
tions to "Haste, post Haste! Haste for thy life!", and the
penalty on account of delay was death. Hence it will be
seen that the proper appreciation of the value of time has
been, and is, the foundation of progress. The penalty for
delay or the waste of time now, as then, is death ; not, how-
ever, to the individual but to his business.

The typewriter has revolutionized commercial methods.
It lessens labor, at the same time increases it. It has
supplanted the pen in commercial correspondence, because
it has greater speed, accuracy, and legibility. It magnifies
and intensifies mistakes in spelling, punctuation, and cap-
italization, and as a result, leads to their correction. It
stimulates accuracy by encouraging greater attention to
detail, both on the part of the dictator and the typist. The
typewriter has done more to promote the phenomenal busi-
ness expansion during recent years than any other office
appliance. Indeed, it has made most of the modern office appli-
ances necessary, as well as possible.

The typewriter has developed the ability and increased
the capacity of the business man, the professional man —

the thinking man in all lines of endeavor — to deliver his
message. In fact, every man who contributes to the
progress of the world, or who promotes its social, indus-
trial, and commercial interests in any way, through com-
munication with his fellow man, is benefited by the type-
writer.

Today it is possible to record thought almost as rapidly
as it formulates, and the busy business man can dictate

MEASURING TIME

As compared with the second-hand of the watch the typebar of
the typewriter moves eleven times faster. This was demonstrated by
Miss Margaret B. Owen, in actual work, in winning the World's Type-
writing Championship. Miss Owen struck the keys more than eleven
strokes a second for three thousand six hundred consecutive seconds.

more in one hour than he could formerly write in a whole
day's time. In fact, in the days of the pen-written letter
it was necessary to sacrifice clearness and exactness of
thought and expression in order to conserve time and labor.
Today the typewriter has released the business man from
these restrictions and limitations, and has given him a
mental freedom that enables him to produce the highest
and most efficient results. The typewriter provides facili-
ties which enable the business man to think quicker and
better, and being relieved of the physical labor in recording
his thoughts, he has much more time to devote to the
development of new ideas in the expansion of his business.

It was Bacon who said ''Reading maketh a full man,
conference a ready man, and writing an exact man."

TYPEWRITER EVOLUTION

Authentic records show that the germ of typewriter
genius first manifested itself more than two hundred years
ago when in the year 17 14 Henry Mill, an English engi-
neer, patented a writing machine which he said he "had
brought to perfection at great paines and expense"; yet it
was more than a century and a half thereafter before the
first practical typewriter was built, and the development of
genius and public opinion began to get together. No model
showing the mechanical construction, or descriptive matter
concerning the principle involved in this machine, is avail-
able.

However, during the period between the first recorded
idea and the first practical results of a writing machine,
many futile efforts were made to produce a commercially
practicable machine, as the following steps show.

In 1784 an embossing machine was invented in France
for the benefit of the blind. It served its purpose in the ■
process of evolution, as all intermediate efforts did, but its

scope was limited quite as much as its practicability, and
as a result it received no commercial recognition.

In 1829 Mr. Burt, of Detroit, Mich., invented and
patented a machine which he called a "typographer." The
merits of this invention were of such minor importance
that the machine made little impression upon the business
world. Unfortunately, all original descriptive matter,
records, etc., concerning this machine were destroyed by a
fire in the Patent Office at Washington in 1836. Only the
original drawing, presented herewith, was preserved.

BURT

In 1830 M. X. Progin, Marseilles, France, took out
patent papers for a machine which he called a "typographic
machine or pen." It embodied the first principles, though

crudely, of the typebar idea. In 1836 another French
machine was brought out with no greater success. The
following is a diagram showing the typebars of Progin's
machine.

PROGIN

THB FIRST IDEA OF A TYPEBAR

In 1843-5 Charles Thurber, of Worcester, Mass., built
a machine that did actual work. . This was a type-wheel
machine, and it suggested the first principle of the movable
carriage. It was very slow; its principle and construction
were crude; and the business public was not enlightened
concerning the value of a writing machine, hence its fail-
ure.

THURBER

THE FIRST MOVABLE CARRIAGE

In 1844 a man by name of Littledale, an Englishman,
invented an embossing machine for the blind. In this
machine provision was also made for the use of carbon,
which was inserted in the usual way, and while writing an
embossed copy for the blind, a carbon impression was also
made for those less unfortunate.

In 1845 a machine was brought out by Dr. Leavitt. of
Kentucky. There is no evidence that this machine was
practical and it evidently was not, from the fact that it
soon passed out of existence.

During the intervening years, 1847-56, a number of
models of a machine was invented by Alfred E. Beach, an
American, editor of the Scientific American. From this
machine we get the first idea of the "key stem" or finger
key, bell crank, connecting wire, and universal bar princi-
ple. The typebars also converged to a common center.
However, the purpose of this machine was not for type-
writing as it is understood today; the invention was in-
tended only for making embossed impressions on a narrow
tape. The following illustration shows a section of Beach's
machine, and the application of his advanced ideas.

^fcr1^!!^!

BEACH

EMBODYING MANY NEW IDEAS.

In 1848 a machine was invented by Fairbank, not,
however, with the view of typewriting, but to print designs
in colors on calico or fabric. This machine was patented
for "printing purposes," which is the only reason why it
is given place here.

In 1849 Pierre Foucauld, a blind man, invented a
machine for those similarly affected. This machine was
exhibited in Paris, where it attracted considerable atten-
tion and was awarded a Gold Medal. A number of the
machines was manufactured, but the purpose for which it
was intended necessarily limited the demand; as a result
its success was of short duration.

FOUCAULD

In 1850 a machine was invented by Mr. Eddy. It had
seventy-eight type arranged in six rows of thirteen each.
This was in reality a typewriter, but for reasons which
records do not explain, the machine did not get beyond the
experimental stage.

In 1 850- 1 Sir Charles Wheatstone, considered one of
the greatest scientists and inventors of his day, was ex-
perimenting with a machine for the purpose of recording
the messages from his dial telegraph, another of his in-
ventions. This machine possessed very little merit, and
while records show that Sir Charles made further attempts
between 1855 and i860, none of his efforts possessed suffi-
cient merit to do credit to his reputation as an inventor.

RDDY

At about this period a machine was brought out by
Marchesi and another by a Mr. Hughes. The latter
machine was the more effective of the two, but it went
the way of the many, serving only the purpose of those
who fail in their efforts through honest endeavor, leaving
an experience by which others may profit.

In 1852 patents were issued to John Jones, of Clyde,
New York, for a writing machine, called a "Mechanical
Typographer," and although the inventor had the benefit
of former experiments, his machine lacked practical value
and failed to produce the desired results.

^jfg — ^h-^jw^vvjfw'v^

JONES

In 1854 Thomas, an American, invented a machine of
such little value, except to suggest a locking device for the
type-wheel machines of a later day, that it is hardly en-
titled to space here. It consisted chiefly of characters
carved on a rolling pin, with other equally crude ideas.

THOMAS

EMBODYING FIRST TYPE-LOCKING DEVICE.

However, since it embodied an idea that was used by later
and more successful inventors, it has been recognized.

COOPER

In 1856 a machine was invented by Cooper that had
a type-wheel acting on a vertical axis. This anticipated
very closely the invention of Mr. Hammond, which has
met with such success that it still has some considerable
following.

In 1857 Dr. William Francis, of New York, made an
unsuccessful attempt to build a typewriter. The machine
was a failure because the typebar action was so compli-
cated and heavy; nevertheless it embodied features from
which later inventors have profited, among which was the
principle of the type-guide.

FRANCIS
EMPLOYED KIRST PRINCIPLE OF TYPE-GUIDE

In 1 86 1 -7 Thomas Hall, of New York, invented and
constructed a typebar machine. This machine embodied
many of the essential features of the writing machines in
use today, but it was never offered for sale. Mr. Hall
later directed his attention to the construction of a machine,
which he did place on the market in about the year 1880.
This machine was known as the Hall typewriter, and em-
bodied the pantograph principle, operated with one hand
by means of a stylus. This machine could be worked at a
surprising speed, considering the one-hand method by
which it was necessary to operate it.

A number of these machines were manufactured at a
profit, it is said. If this is true, the Hall was doubtless

the first typewriter to reach this point of progress. The
one-hand stylus principle, however, was wrong-; its opera
tion was slow, and as a result the machine was soon
succeeded by others that embodied principles which con
tributed to greater speed and accuracy, many of which are
in use today.

HALl,

STYLOGRAPH1C MACHINE

In 1865 George House, of Buffalo. Xew York, brought
out a machine in which the type were arranged in a basket.
striking the paper at a common center. By reason of this
fact his machine marked a distinct step in the development

HOUSE

of typewriter genius, but its value consisted solely in its
contribution to other inventors.

Jn 1868 John Pratt, of Alabama, was fortunate in
bringing out a machine at about the time the press had be-
come greatly interested in the efforts to produce a type-
writer. The London papers commented upon the feasibility
and the value of a machine which would produce writing
by mechanical means. The Scientific American, comment-
ing directly upon Mr. Pratt's production, refers to it as
follows:

"It is assumed that a man may print his thoughts twice
as fast as he can write them, and with the advantage of
the legibility, compactness, and neatness of print
The subject of typewriting is one of the interesting aspects
of the near future. Its manifest feasibility and advantage
indicate that the laborious and unsatisfactory performance
of the pen must, sooner or later, become obsolete for gen-
eral purposes."

The Phonographic World later published an article
describing Mr. Pratt's machine in detail.

Mr. Pratt's machine was soon numbered among the
many failures that had preceded it. However, he took out
patents on another machine in 1882, which he sold to
James B.- Hammond, who incorporated them in a machine
which will receive due mention.

BROOKS

FIRST IDEA OK TWO CHARACTERS ON EACH TYPEBAR

Byron A. Brooks, who had rendered extensive service
in the development of typewriters, promoted the first prin-
ciple of placing two characters on each typebar; this neces-
sitated a lower and an upper case which was operated by
a shift key, a principle employed in the most popular type-
writers of today.

Mr. Brooks later invented a machine to which he gave
his name, and as an indication of his far-sighted knowledge
of the ultimate demands of the typewriter industry, he
attempted to produce visible writing. But his efforts in
this direction were unsatisfactory because only two lines of
writing were visible at one time. They did, however, serve
as suggestions to assist later inventors. The typebars stood
up back of the platen and struck forward and downward.
The machine had no special features to commend it to pub-
lic opinion, and as a result its manufacture was soon dis-
continued.

The foregoing were experimental steps in the progress
or evolution of ideas in the development of the typewriter.
These experiments were being conducted on both sides of
the Atlantic. In fact, it might appear that there was a
contest for priority in the production of the first practical
writing machine, in which America won, as subsequent
developments will show . Although all these steps were fail-
ures, so far as individual practical results were concerned,
they were valuable to succeeding inventors who culled and
preserved the practical and eliminated the impractical.

For example: M. X. Progin, in 1830, advanced the
first principle of the typebar. From Charles Thurber we
get the first idea of a movable carriage, embodied in his
patents of 1843-5. To Alfred E. Beach we are indebted for
the first ideas of the finger key, bell crank, connecting wire,
and universal bar, also the converging of the typebars to-
ward a common center. Thomas is credited with the first

idea concerning a locking device. The machine invented by
Cooper in 1856 gives the first type-wheel device acting on
a vertical axis. Dr. Wm. Francis originated the type-
guide. From the invention of George House, of Buffalo,
we get the first idea of arranging the type in a basket.
And to Byron A. Brooks is given credit for placing two
characters on each key — an upper and lower case — which
necessitated a shift key for capitals and other upper case
characters.

About the year 1865, C. Latham Sholes, a printer in
Milwaukee, began experimenting with a machine for insert-
ing the numbers of pages in books. This machine attained
such a marked degree of success that Mr. Sholes, having
studied the comments of influential mechanical experts in
magazines concerning the universal and practical demand
for a typewriter, and believing in its possibility, be-
came interested in extending his ideas to the develop-
ment of a writing machine. With this object in view, in
1867 he associated with himself Carlos Glidden and Samuel
W. Soule. In 1868 they were granted patent papers for a
machine, which although very crude, embodied such practi-

SHOI/RS, GUDDEN AND SOULE'S

EARLY EFFORT SHOWING PIANOFORTE KEYBOARD.

cal ideas that it attracted the attention of James Densmore,
a wealthy inventor of Meadville, Pa., who, upon paying

all of the expenses incurred in all previous experiments,
secured one-fourth interest in the invention. Soon after,
Glidden and Soule dropped out of the enterprise.

Mr. Densmore first saw the machine in 1868, and im-
mediately pronounced it a failure in its state of development
at that time, at least so far as its practicability was con-
cerned. However, he believed that the ideas and principles
of the machine were correct, and at once began the process
of elimination and development. Many models were made,
all of which were rejected as impractical after having been
thoroughly tested by those who were in a position to
understand the requirements of a practical writing machine.
These numerous failures discouraged Mr. Sholes, but he
was urged by Mr. Densmore to continue his experiments.
Mr. Densmore insisted that it was absolutely necessary to
the ultimate success of the machine to have interested out-
siders point out the defects and suggest wherein the
machine might be improved. Owing to the most limited
manufacturing facilities at their command, these machines
were so extremely crude in workmanship that they con-
tained little suggestion of the possibilities of the present-
day typewriter. It was not until the year 1870 that the
machine began to give promise of real service. The actual
value of the machine up to this time, however, consisted
chiefly in confirming the confidence of its inventors.

About this time G. W. N. Yost became interested in
the enterprise, and suggested further alterations and im-
provements. Mr. Yost's efforts, however, were most effect-
ive through his influence in convincing his associates that
the machine must be made in the most skilful manner, if
it was ever to attain a high degree of profitable service.
With this object in view, Mr. Sholes, Mr. Densmore, Mr.
Yost, and others, sought and secured the attention and in-
terest of E. Remington & Sons (the Remington Arms Com-
pany), of Ilion, New York. This company had attained
quite an extensive reputation for mechanical skill through

the manufacture of firearms during the late Civil War, and
was doubtless better equipped for the quality of work neces-
sary to build a serviceable typewriter than any other com-
pany at that time. The first machine, therefore, that would
really do practical writing was due to the original ideas of
Mr. Sholes, the judgment and perseverance of Mr. Dens-
more, and the influence of Mr. Yost.

To Mr. Sholes is also due the arrangement of the
keyboard. He was a printer by profession, and it has been
said that the order of the printers' case evidently suggested
the arrangement of many of the seventy-six characters on
the original machine. Although some minor changes have
been made, the present keyboard is substantially the same
as the original. There are many who feel that a revised
keyboard would be beneficial, and efforts have been made to
produce one more satisfactory to all. These attempts, how-
ever, have always proved an expensive undertaking without
satisfactory results, because time has made the present key-
board practically universal, a fact for which, the typist is
largely responsible.

A contract was given to E. Remington & Sons for the
manufacture of a thousand machines, then known as the
Sholes and Glidden typewriter.

SHOCKS AND GLIDDEN
SHOWING LATER MODEL OF DEVELOPMENT

It conveys little information to reproduce the preceding
diagrams of the earlier efforts in typewriter construction,
as they would hardly be recognized as typewriters. Their
only value consisted in contributing to the steps in the
evolution of the typewriter by way of suggestion. E. Rem-
ington & Sons later secured control of the machine and
gave it the name "Remington."

REMINGTON

In 18/4 the first Aro. 1 model Remington was placed
on the market, of which about 400 were sold. Many of
these machines were returned, not only on account of im-
perfections they developed, but because the business world
had not yet given the typewriter serious consideration.

FIRST REMINGTON

NO. 1 MODEL

The Western Electric Company became the first sales
agent for the Remington, but their efforts were not suc-
cessful and the agency was transferred to the Fairbanks
Scale Company in 1878. The Scale Company met with

no greater success than the Western Electric Company, for
the reason as stated before, the public were not educated
to the value of a typewriter, and the efforts of the agencies
were otherwise more profitably directed.

It may be of interest to know that about this time a
legal sham battle between typewriter inventors was insti-
gated for the purpose of directing public attention to the
importance the typewriter had gained in the commercial
world, in which suits and countersuits were brought, all
of which were settled out of court "by agreement of coun-
sel." The suits were only intended to agitate an interest
in the typewriter, which had not thus far been very suc-
cessful.

In 1882, the firm of Wyckoff, Seamans & Benedict
was organized for the purpose of devoting its entire time
and energy to the sale of the machine. The firm consisted
of W. O. Wyckoff, a Court Reporter of Ithaca, N. Y. ;
C. W. Seamans, who had been Sales Manager of the
machine for Fairbanks and E. Remington & Sons since the
machine was placed on the market, and H. H. Benedict,
who had long been associated with the Remington Arms
Company.

The next step necessary in the evolution of the type-
writer was the education of the public to its commercial
value. This was no small undertaking because of custom
and prejudice. A typewritten letter often offended the
recipient, who seemed to feel that it was a reflection upon
his intelligence and ability to read pen writing. For a
number of years the typewriter was looked upon as a lux-
ury used only by those who had sufficient money to satisfy
a whim ; later it became a convenience, and finally an abso-
lute necessity.

The campaign of education which Mr. Seamans had
inaugurated during his former association with E. Reming-
ton & Sons was continued by the new firm. They believed

so thoroughly in the future of the machine that their idea
was, if the business man did not appreciate the value of
the machine it should be taken to him, and he should be
taught its use and value. With this end in view, several
hundred machines were placed in the offices of many prom-
inent individuals and firms, such as editors, authors, law-
yers, and manufacturing- concerns, with the result that the
firm's confidence was confirmed by the unqualified endorse-
ments of all who had been thus favored.

Some of the endorsements secured by Mr. Seamans, a
few of which are quoted below, were used by the new firm as
a foundation for the further education of the public.

••II \rtfokd. March 19. 1875.

Gentlemen :

Please do not use my name in any way. Please do not even
divulge the fact that I own a machine. I have entirely stopped using
the Type-Writer for the reason that I never could write a letter with
it to anybody, without receiving a request by return mail that I should
not only describe the machine but state what progress I had made
in the use of it, etc., etc. I do not like to write letters, and so I do not
want people to know that I own this curiosity-breeding little joker.

Yours truly.

Samuel L. Clemens. "'

(Mark Twain)

"Boston. March 17. 1875.

Gentlemen :

I have had one of your Type-Writers for the last ten days, and
during this time I have written with it one hundred pages of a story
for the magazine under my charge, all of the editorial matter for the
current number of this publication, and a great many letters; in fact,
I have not used a pen since the machine came into my possession.
After this experience of ten days, I find that I can write, with this
apparatus, about two-thirds as fast as I can with a pen ; and though I

am a rapid writer, I confidently expect to be able to put more words
on paper, before many weeks, with this machine, than I ever could
with a pen in the same time. Writing with it is a very pleasant occu-
pation, while to me the use of the pen is the merest drudgery. I find
no difficulty in 'composing' or doing any of my regular literary or
editorial work with the Type-Writer.

Very truly yours,

William T. Adams,

Editor of Oliver Optic's Magazine."

"Phenix, R. I., March 28, 1875.

Gentlemen :

We have now had the Type-Writer about a month, and are en-
tirely satisfied with it. There can be no doubt in regard to its use-
fulness. When I saw the advertisement of the machine^ originally,
I had little faith in it. An examination surprised me, but not so much
as the practical working has. We have no trouble whatever with it,
and it is almost constantly in operation. I think that it must rank
with the great beneficial inventions of the century.

Very truly yours,

Henry Howard,

Governor of Rhode Island."

It may be well to direct attention to a condition which
seemed to be absolutely necessary at that time in order to
break down the prejudice which seemed to prevail against
the "printed" letter. The placing of these machines "on
trial" in business offices, to demonstrate their commercial
convenience, established the "trial habit" which manufac-
turers have tried for years in vain to eliminate. The "trial
habit" is wholly unnecessary and is an expensive imposi-
tion which the public inflict upon the manufacturers, but it
proves how tenaciously habit will cling. All of the older
machines have been "tried" by millions, and it would seem
today that a thorough demonstration and comparison of the

relative merits of the various machines as adapted to the
buyer's business should be sufficient.

The interests of E. Remington & Sons were so exten-
sive and varied and the success of the new firm Wyckoff,
Seamans & Benedict had been so marked that in 1886 the
latter purchased from the Remington firm all franchises,
patents, plant, etc., used in the typewriter manufacture, and
started a separate manufacturing company. Thus the type-
writer became an independent enterprise and its success
assured.

Thus far in these steps an effort has been made to
place the various attempts to produce a typewriter in
chronological order. At about this period, however, so
many inventors sought to improve the primitive ideas em-
ployed in the first Remington production, as well as to
share in the profits, that a number of machines were placed
upon the market almost simultaneously. Numerous in-
ventors were engaged on various machines at the same time,
whose products made their appearance so close together
that it would be practically impossible to give them chrono-
logical preference.

One of the difficult problems with which inventors were
confronted at that time was the fact that manufacturing
facilities were limited. At least, these facilities had not
been brought to that state of perfection necessary to build a
typewriter with the essential mechanical accuracy and with
sufficient speed and exactness of alignment and operation in
all of its working parts to insure durability. Those whose
experience dates back to the first typewriter understand the
limitations of mechanical facilities at that time, and they
know that the progress in manufacturing has made possi-
ble refinements necessary to the evolution of the type-
writer.

The characteristic features of the Sholes-Glidden prod-
uct, refined and improved by the Remington Company, rep-

resented the simplest and most effective form of construc-
tion at that time. The first No. i Remington was a type-
bar machine. The typebars hung in a circle and were
attached to finger key levers by connecting wires. When
the finger key levers were depressed the corresponding
typebars converged to a common center, striking the print-
ing point beneath the platen. The typebars had pivotal
bearings and were suspended from U-shaped hangers, held
in place by screws. The possible loosening of these screws
and the wearing of the pivotal bearings affected the align-
ment very materially.

The No. i model Remington was succeeded by the
No. 4, each of which was a single case, non-shift machine;
that is, the alphabet was all capitals. The No. 2 was a
double case machine, each typebar being provided with two
characters. To operate the upper case, it was necessary
to use one of the two shift keys with which the machine
was provided. The No. 1 and No. 4 keyboards had four-
teen less characters than the present keyboard. The No. 3
model Remington was a wide carriage machine with eight
more characters than the No. 2 for special work. The
No. 5 model had a similar keyboard, but the construction
and action of the machine were very heavy and as a result
met with little success. It reversed the style of operating
the escapement mechanism; the rack working in the dogs
instead of the dogs working in the rack.

The No. 6 model, which was the most popular blind
Remington, was in fact the successor to the No. 2 model,
having the same keyboard, but many improvements and
refinements. The No. 7 model was the same as the No. 6
with the exception that it had eight more characters, the
same as the No. 3 keyboard. The No. 6 and No. 7 Rem-
ingtons remained the popular machines for years, in fact
until other inventors and manufacturers made it necessary
to abandon that style of construction.

REMINGTON No. 6 (Blind)

The typebars of all the various models of the Reming-
ton typewriter, except the No. I and No. 4, were provided
with two characters ; the small letters and a few punctuation
marks were in the lower case; the capitals, the majority of
the punctuation marks, and all special characters were in
the upper case. When operated in its normal position the
machine wrote lower case characters, and in order to get
upper case characters, it was necessary to use the shift key.
For this purpose two shift keys were provided; one in the
lower bank or row of keys on the left side, the other in the
upper row on the right. These keys being out of line or
level with each other prevented a properly balanced hand
action, so essential in touch typewriting.

The escapement consisted of a rigid and a loose dog
which operated in a rack. Its construction was crude and
its action slow because of the carriage friction, and because
the universal bar which controlled the escapement was be-
neath the machine and operated by the finger key levers.
The ringer key levers were made of wood. These were
resilient and provided a light touch, but they were suscep-
tible to climatic conditions; in other words they would

warp, and the spacing was irregular between the finger
keys, which was not conducive to accuracy in touch type-
writing.

The carriage traveled from right to left, supported by
a way-rod in the back and in front by a grooved wheel
running on a rod, around which were yoke blocks directly
connected with the shift key by means of which the upper
case was controlled. The carriage was drawn by a main-
spring, and when it approached the end of the writing line
a bell gave the signal. This signal was given several spaces
before the end of the line, when the carriage was returned
by the right hand, at the same time giving new space for
the succeeding line. While the whole principle and con-
struction was crude, it was undoubtedly the best machine of
that style.

CALIGRAPH

Mr. Yost, having severed his connection with the
Remington, began experimenting with a double keyboard
machine; that is, a machine embodying a principle which
employed a character for each key. Mr. Yost secured the
service of Mr. Franz X. Wagner and a Mr. Burn, skilled
mechanics who had been connected with the typewriter in-
dustry since the original Sholes machine, and were employed
at the Remington factory in the later development of the
Remington. These experiments resulted in the production
of the Caligraph.

The advent of the Caligraph developed a difference of
opinion, with reference to the advantages of the single
(shift key) and the double keyboard. The principle of a
character for each key necessarily made the keyboard very
large. The small letters were on white keys in the center
of the keyboard, and the capitals arranged on the sides
with no regard for order or system. There were two space
bars, one on each side of the keyboard.

The Caligraph employed a principle in the movement
of the carriage which never became popular. The carriage
was not pulled by a mainspring in a spring barrel, but it
was moved by a cast metal arm attached to the center of
the carriage. This arm derived its power from a long
spring encircling an iron bar, running from the front to
the back of the machine beneath the finger key levers. The
Caligraph also employed the principle of the single dog and
the double rack; that is. it had one rigid dog operating in
the racks. One of the racks was loose and when a key was
depressed, it moved forward the distance of the space of a
character, at which point it engaged the dog, which stopped
the action of the carriage. This style of construction was
not a success, principally on account of the irregular spac-
ing caused by increased friction between the racks.

The Caligraph typebar system had a leverage of the
third order. This caused a difference in the depth of the
depression of the several banks of keys, resulting in irregu-
lar type impressions. At the time of the invention of the
Caligraph the process of concaving the type was not known,
and to overcome this limitation in manufacturing facilities,
the circular platen of the Caligraph consisted of a series of
facets which provided a flat surface for each line of writ-
ing.

CALIGRAPH
FIRST DOUBLE KEYBOARD MACHINE.

The principles employed in the typebar and the car-
riage return were very similar to those employed by the
Remington. This machine proved a strong competitor of
the Remington for a number of years, and will be referred
to again in the course of these steps.

HAMMOND

Mr. James B. Hammond, a young man possessed of
unusual ingenuity, conceived the idea of building a type-
writer long before he had ever seen or heard of the Sholes-
Gliddcn efforts. He employed an entirely different prin-
ciple, however, namely, the type-wheel. When he saw a
model of the Sholes-Glidden typewriter and reviewed their
patent claims, it is said he was not in the least discouraged
but rather stimulated to greater effort. The successful
operation of the principle involved in the Hammond was
very difficult to attain. The type-wheel, or shuttle, which
carried a full font of type and special characters, required
greater mechanical accuracy than did the typebar principle
as employed at that time. On this feature alone, which is
the basic principle of the Hammond, the inventor spent
many years of patient toil, before it was brought to a state
of successful operation.

The Remington Company, having seen a model of the
Hammond machine during this period, invited the inventor
to visit Ilion with his machine for their inspection, with the
result that they tried for more than a year, without success,
to overcome the difficulties with which the inventor was
contending.

Mr. Hammond, possessing a spirit of perseverance, was
not discouraged by the failure of the Remington, and set
to work with renewed determination, which resulted, after
eight years of work, in accomplishing his aim. He pro-
duced a machine which embodied his ideas, and placed it on
the market about the year 1884.

Each type-wheel of the Hammond, as has been ex-
plained, carried a full font of type, which were instantly
interchangeable. That is, one type-wheel, or shuttle, might
be taken out and another inserted without affecting any of
the working parts of the machine. This was the principle
for which Mr. Hammond had been striving, and it is on
account of this feature that the machine has been able to
hold a position in the business world, although its outlet
is special and limited. A Hammond type-wheel is made for
practically every known language, which accounts for its
sales being confined largely to foreign countries.

The Hammond, however, lacks many necessary fea-
tures for practical commercial service. It is not a good
manifolder, nor has it the speed of a typebar machine, two
essential qualities highly necessary in the business world to-
day. The first Hammond typewriter had a circular key-
board with keys fashioned after the pianoforte. This was
not popular. The "ideal keyboard" was then tried for the
reason that its arrangement was more suitable to the opera-
tion of the shuttle feature of the machine. It was not a
success. At present a keyboard is used with three shift
keys; two for capitals and some special characters, one
located on each side of the keyboard; the other is for fig-
ures and other special characters. None of these keyboards
has been satisfactory to the touch typist of the present day.

The touch of the Hammond typewriter is uniform, so
also is the typewritten impression, owing to the fact that a
depression of the key simultaneously turns the shuttle to
the proper character and releases a hammer which strikes
the paper from the back, each time with equal force. The
alignment is good, from the fact that the type do not strike
the paper direct; but the impression often has a blurred ap-
pearance. The commercial world today, at least the United
States, requires speed; it requires a large number of copies
and the best possible results in every respect; hence the fact

HAMMOND

FIRST SUCCESSFUL TYPE-WHEEL MACHINE.

that the Hammond is little used for commercial purposes in
the United States. It occupies a special field.

BAR-LOCK

The Bar-Lock is the invention of Charles Spiro, of
New York. Mr. Spiro is also the inventor of the Columbia,
but it cannot be said that the Bar-Lock is the outgrowth of
the Columbia from the fact that these two machines have no
similarity whatsoever. The Columbia was a disc or wheel
machine and was little more than a toy, while the Bar-Lock is
a typebar machine, possessing sufficient merit to justify its
continued manufacture.

The Bar-Lock is the first "duplicate" keyboard
machine. That is, it is the first machine with a key for each
character, having the capitals arranged above the small let-
ters in the same general order. It is also the first machine
to be built with the typebars standing in an upright position
when not in use. The typebars are so arranged that they form
an arc between the platen and the keyboard. The depression
of the keys forces the typebars down to the printing point,
and a spring returns and holds them in position. As a re-
sult of this style of construction there is constant stress or

tension on the springs controlling the typebars, which must
be overcome when the keys are depressed. Thus gravita-
tion plays no part in the return of the typebars. The type-
bars are of two lengths, made necessary to accommodate
them to the space in the arc.

The Bar-Lock derives its name from a series of pins,
extending up from a steel plate just in front of the printing
point, between which the typebars strike. These pins are
supposed to lock the bars and preserve the alignment.
There are fourteen pins with thirteen spaces, therefore they
cannot be termed guides as the type-guide is understood
today. There is no arrangement by which these pins can
be adjusted, nor would it be possible, because six typebars
are supposed to be "locked" by each of these thirteen
spaces. This makes it necessary to bend the bars, without
order or system, to fit the spaces between the pins.

The manufacturers of the Bar-Lock claim for it visible
writing, whicli it does not have, for the reason that the
typebars extend up between the vision of the typist and the
printing point. In order to see the writing line it is necessary
for the typist to lean forward from the regular position of the
typist while writing, which is little, if any, improvement over
lifting a carriage.

The claims of the manufacturers for visible writing
served the purpose at least of suggesting the advantages
that might accrue from a machine actually possessing visi-
bility.

The insertion of the paper is not convenient, as it is
necessary to reach around back of the perpendicular row of
keys. This also makes corrections difficult, especially where
erasures are necessary.

The manufacturers also built the Bar-Lock with the
universal standard keyboard, employing the shift key. Al-
though this machine was invented and manufactured in the
United States, it did not meet the requirements of the ex-

BAR-LOCK

FIRST "DUPLICATE" KEYBOARD, DOWN-STROKE MACHINE.

acting American business man, and as a result is no longer
offered for sale in the country in which it originated.

DENSMORE

James Densmore, whose connection with the Sholes,
Glidden and Soule experiments has already been mentioned,
later invented a machine to which he gave his name — Dens-
more. This machine embodied some new features. It had
the first line-lock. The purpose of this was to prevent the
piling of characters at the end of the line. It was the first
to employ ball-bearings in the typebar, and it also intro-
duced the back-spacer in a practical manner.

The Densmore had a keyboard similar to the Reming-
ton with a shift key on each side. In an effort to make it
more convenient to "get at the work," the inventor devised
a plan by which the platen might be tilted forward in addi-
tion to raising the carriage.

The original Densmore did not have ball-bearing type-
bars. These were introduced in the later model. The in-
ventors appreciated the fact that the shock in starting the
balls, which necessarily followed a stroke of the finger keys,
would cause unusual wear not only on the balls but on the
retaining cup. Hence, an accelerating arm or sleeve was

provided to start the typebars, thus relieving the balls of
the shock by first receiving the blow and lifting the type-
bars on the ball-bearings to the printing point. This was
not a success, as the friction on the accelerating arm offset
any possible advantage that might have been gained by the
ball-bearings, although it did relieve the strain or shock on
the balls, resulting from the quick, sharp stroke of the keys.

DENSMORE

The machine at one time was used quite extensively in
the United States. It embodied the same general principles
as the Remington, which may have accounted for its popu-
larity in the typewriter world. Its manufacture, however,
was discontinued, the cause for which will be commented
upon later.

YOST

G. W. N. Yost, who figured in the production of the
first practical typewriter and also produced the Caligraph,
later brought out a machine to which he gave his name —

Yost. This was the first machine of any importance to use
an inking pad instead of a ribbon. It was also the first
practical machine to use a type-guide at the printing point.
(This principle was first employed by Dr. Francis.) The
guide consisted of a solid block of metal with a square hole
in which the type block fitted securely. The work of the
Yost was always considered neat and attractive, largely the
result of the guide, but the guide was not adjustable. The
typebars were made in several sections, and had the machine
not been provided with a guide it is doubtful whether the
work would have been presentable.

Although the Yost was invented by an American and
built at Bridgeport, Conn., it could not hold its position
against the more active and effective competition in its own
country and was forced, like the Bar-Lock, to find a foreign
market.

This machine will be referred to again in the course
of the evolution of the typewriter, for the reason that later
inventions compelled its manufacturers to change its prin-
ciples of construction almost enirely. ( See page 104)

SPEED CONTESTS

Just preceding the year 1888 the typewriter had grown
in popularity to such an extent that competition arose among
the users as well as the manufacturers concerning the speed
qualities of their respective machines. This competition was
stimulated by the demand of the buyer and user who recog-
nized the value of speed, accuracy, and legibility. Accord-
ingly, a contest was arranged to ascertain the respective
speed merits of the various makes of typewriters. This con-
test was held at Toronto, Canada, in August, 1888. Only
the Remington and the Caligraph participated. One of the
features of this series of contests was writing for five min-
utes from the memorized sentence "This is a song to fill thee

with delight." This contest was won by Mr. F. W. Os-
borne, using the Caligraph.

In reporting this series of contests, the Phonographic
World, the policy of which was controlled by the Reming-
ton Typewriter Company, made no reference to the contest
won by the Caligraph operator. In the November issue,
however, of 1888, in response to numerous inquiries, the
World produced an extensive article of which the following
are extracts:

"By those who have kept informed concerning the re-
sults of the recent 'Speed Contests' between the 'Reming-
ton' and 'Caligraph' writing machines (the only two
machines which have dared to enter for a public contest in
the world), it will be remembered that at the International
Contest at Toronto, August 13 (1888) last, three leading
medals were awarded by the Committee in charge, the first
two being given to the 'Remington,' and the third to the
'Caligraph.' The first, a Gold Medal, representing the
championship of the world for the greatest speed in writing
unfamiliar testimony and business correspondence, was won
by Miss M. E. Orr, of New York, a Remington operator;
the second, a Silver Medal, in the same class, was won by
Mr. F. E. McGurrin, of Salt Lake City, Utah, also a Rem-
ington operator; and the third, a Special Medal, being
awarded to Mr. F. W. Osborne, of Rochester, N. Y., for
writing the memorized sentence, "This is a song to fill thee
with delight," the greatest number of times, the operator
using the Caligraph." . . .

"We show exact fac-similes of the work of both
machines. These pages have been photographed directly
from the original copy and are signed by the operators of
each instrument. Both pages show excellent work, con-
sidering the rapidity with which the keys were struck, and
although the Caligraph operator is credited with writing
sixty-seven more words than the Remington operator,

. . the sentence was written correctly by the Caligraph
operator only twice, while the Remington operator, in less
times, wrote it correctly forty-nine times." . . .

"To have given in the World's report a full statement
of the writing of the memorized sentence would have been
to more widely advertise the Remington machine than was
called for at the time in a news article, or than we cared
to do. . . . But, as before stated, we have received
numerous inquiries as to why the World had not reported
this matter, and we here present it, in absolute fac-simile,
and with straightforward facts, leaving the intelligent read-
er to be judge of the respective merits of the two perform-
ances."

There is much truth worthy of consideration contained
in these extracts taken from the Phonographic World,
which applies with equal force to the contests of today,
especially with relation to the quality of the work. The
World leaves "the intelligent reader to be judge of the
respective merits of the two performances," and for that
reason a part of the fac-simile copies are submitted on the fol-
lowing two pages.

Typewriting contests were revived many years later,
after the typewriter had been greatly refined and improved.
On page 42 is a fac-simile, photographic reproduction of
a part of the work of Miss Rose L. Fritz, writing in open con-
test at the rate of 1 18 words a minute for fifteen minutes with-
out error of any kind. "The intelligent reader" or buyer will
"judge of the respective merits of the two performances."

In some of the recent contests writers using other
machines than the Underwood have made excellent records,
and the work was considered technically correct, according
to the rules, but the "intelligent reader" would not accept
the work as practical; at least, he would not attach his
signature to it; nor will those in control permit copies to
be reproduced in this book.

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SMITH PREMIER

The Smith Premier typewriter is the invention of Alex-
ander T. Brown, of Syracuse, N. Y., and it got its name
from L. C. Smith, famous as a manufacturer of guns.
This machine appeared on the market in about the year 1890.
It has a duplicate keyboard, or, as its manufacturers term
it, a "complete" keyboard, having a key for each character.
The Smith Premier embodied many features that were
superior to either the Caligraph or Bar-Lock, the two
machines preceding it having a character for each key.

The rocker shaft principle employed in this machine
was new in typewriter construction. Each finger key stem
was attached to a spur on the shaft, and another spur on
the shaft was attached to the connecting link, which oper-
ated the typebar. The typebars were suspended in a circle,
and the impression or line of writing was beneath the cylin-
der out of sight, as was the custom of that day. The bear-
ings of the typebar of the Smith Premier were very long,
which gave better control of the alignment than on any
of the previous machines.

The Smith Premier had but one scale and it was not
necessary to lift the entire carriage to see the work. The
platen was tilted forward by a lever in a convenient man-
ner, and the writing line appeared just above the scale.
Erasures and corrections were quickly and accurately made.
The machine also employed the first practical means of re-
versing the ribbon automatically.

Another feature of this machine was the easy means
by which the type were cleaned. A circular brush which
rested just below the typebars was built in the machine.
When it was desired to clean the type the platen was re-
moved, a crank handle inserted and turned until the brush
was brought up into contact with the face of the type, when
a few additional turns effectually cleaned them. This was

SMITH PREMIER (Blind)

quite an advantage at that time, because in order to clean
the type on the Remington and other machines, it was
necessary to raise the carriage, lift each individual type-
bar, and brush the type one at a time. This always re-
sulted in soiling the hands and for this reason the typist
neglected cleaning the type until the untidy appearance of
the work made it absolutely necessary. The Smith Pre-
mier proved a strong competitor for the Remington, both
on account of its merit and the methods of the manufac-
turer in selling the machine, without regard to uniform
price. On account of unusual activity and price cutting
the Smith Premier soon secured a large following.

UNION TYPEWRITER COMPANY

The quality of the Smith Premier and other machines,
together with the price cutting methods of the manufac-
turers, resulted in forcing the Remington, out of self-pro-
tection, into a combination known as the Union Typewriter
Company, composed of the Remington. Caligraph (New
Century), Smith Premier, Yost, Densmore, and other com-
panies. This combination was formed in 1893 f°r the Pur_
pose of eliminating competition and maintaining the price.

These companies continued separate organizations but re-
ceived instructions from, and reported to, the Union Type-
writer Company, which controlled the entire situation most
effectually, both as to machine competition and employes.
In other words, employes could not follow their conviction
and go from one company to another without the permis-
sion of the company they were leaving, which was difficult
to obtain, especially if the quality of their services was such
as to justify any one of the companies belonging to the
Union Typewriter Company in wanting to retain them. Sales-
men and other employes were subject to discharge on account
of the slightest error or misdemeanor, and they had no re-
course except to quit the business, thereby sacrificing the
experience of years. When a salesman was discharged, his
name was placed on a black list, and only by special dispen-
sation could he secure employment with any of the afore-
said companies.

In harmony with a universal law this combination re-
sulted in the "survival of the fittest." The Remington type-
writer was a single shift key machine, and the Smith
Premier a duplicate keyboard machine. The Caligraph,
Densmore and Yost embodied no special features that
would justify the expense of maintaining separate organ-
izations to market them. As a result they were placed
under one sales department and finally withdrawn from the
American market. The manufacture of the Caligraph and
Densmore was discontinued entirely, but the Yost embodied
certain characteristic features which appealed to the for-
eign trade, where it now finds its only market.

This combination exists today, but the evolution of the
typewriter and the Federal laws have compelled them to
change their policy, and the Remington Typewriter Com-
pany has now assumed direct and complete control. They
now make the Remington, Remington Smith Premier and
the Remington Monarch, a later product, information con-
cerning which will be presented under the title "Monarch."

WILLIAMS

The construction of the Williams typewriter is peculiar.
The platen and the paper carrier traveled through the center
of the machine, between two sections of typebars. It was
necessary, therefore, for one section of the type to strike
forward and the other backward, which made a ditYerence
in the leverage and key tension. The Williams employed
two pads for inking purposes, one for each section of type-
bars. The type lay on the pads face downward when at
rest, and as a result it was very difficult to clean them. The
pads were quite moist and always exposed to dust.

When a finger key in the front section of typebars was
struck, the typebar was lifted up. moved backward and

dozen. — three distinct directions. The type in the back sec-
tion were, of course, operated in a similar manner. up,
forward and down. The Williams was a double shift key
machine: that is. it employed one shift key for the capitals
and the other for the figures and special characters. The
typebar construction was very complicated.

...-.,— •'..»••

WILLIAMS TYPEBAR

CONSTRUCTION AND ACTION.

The manufacturers of the Williams claimed for it visi-
ble writing, and the machine did actually enable the typist
to see one complete line of writing", but this immediately
passed out of view under a scale into a receptacle for the
paper between the typebar sections. The manufacturers

brought out several models of the Williams, but the great-
est success of the machine consisted in stimulating the de-
sire on the part of the typist for an actual visible type-
writer.

The Williams was not fast; it was not a good mani-
f older; it was not convenient to insert paper; the type were
not easily cleaned; and its only redeeming feature was the
one line of visible writing.

NEW CENTURY

The New Century appeared on the market in 1898. It
was generally considered an improved Caligraph, and for
this reason it received some considerable attention. It had
a number of improvements over the Caligraph, but retained
the double keyboard principle. It came at a time, however,
when the public were clamoring for visible writing, and
because of this fact, together with the fact that it was a
double keyboard machine, it was unable to make any head-
way, and its manufacture was soon discontinued.

BLICKENSDERFER

The Blickensderfer typewriter made its appearance in
the early nineties, and is still on the market, therefore it is
entitled to consideration in these steps. This machine,
commonly known as the "Blick," is a type-wheel machine;
that is, the type are all arranged on a wheel, and every
type moves when each key is struck. The type do not act
independently as on most machines, hence it became neces-
sary to arrange a special keyboard in order to produce the
best results from this style of construction, and because of
this special keyboard the machine did not meet with favor
among touch typists. The supply of ink is obtained from
a roller pad.

The "Blick" is small, hence easily portable; it is also
a cheap machine, and the style of type may be changed by

changing the wheel. Because of its portability, its sim-
plicity, the ease of changing type, and its price, it has won
a place, or at least a niche, in the commercial world. How-
ever, it is not found in the large and more important offices
where quantity and quality of work are the prime consid-
erations, but among those who have little work, do it them-
selves, and want it done on a typewriter.

BUCKKNSDERPKR

(LATE MODEL)

Mr. Blickensderfer died August, 191 7, since the fore-
going was written.

BUCK ELECTRIC

The maufacturers of the "Blick" produced an electric
machine, which promised to revolutionize the typewriter
business, but the promise was not fulfilled. It had its ad-
vantages, but the disadvantages evidently were greater,
because of the complications of the electric motor require-
ments. The carriage reverse and all other active parts of
the machine were controlled by electricity, but the best evi-
dence of its imperfection is that its manufacture was soon

discontinued. The electric typewriter would eliminate to a
great extent the human element, and for that reason it is not
likely to become popular.

MANHATTAN

The Manhattan typewriter was composed of features
that were formerly embodied in the No. 2 Remington. It
had no original principles and there was no excuse for its
having been constructed. It resembled very much in form
and feature the No. 2 model Remington, which the Rem-
ington Company had already discarded, and as a result of
going backward instead of forward, it had a very short,
unprofitable experience in the business world.

FRANKLIN

The Franklin typewriter is not entitled to space in con-
sidering the evolution of the typewriter, because it ad-
vanced no new ideas, it possessed no new features, and as
a result it was short-lived. The typebars stood up in front,
between the keyboard and the platen, and struck down after
the fashion of the Bar-Lock. The keyboard was circular
and non-standard. The only reason it is given space here
is that it did receive some consideration from the business
world which contributed somewhat to the education of the
public to the appreciation of the commercial value of the
typewriter.

The public having begun to recognize the value of the
typewriter, and the sales system of the manufacturers of
the better writing machines not having been thoroughly
organized, a number of cheaper, inefficient typewriters
found a market. This will account for the mention of a
number of typewriters that really possessed no features that
contributed to the evolution of the typewriter. However,

the business man soon began to appreciate the fact that the
best was really the cheapest.

REMINGTON-SHOLES

This machine got its name from a Mr. Remington and
a Mr. Sholes, who were the patentees. These gentlemen
were direct descendants of the Remington and Sholes fami-
lies of typewriter fame. They advanced the foolish argu-
ment that "if horses and dogs are bought by pedigree the
same plan might well be adopted in selecting a typewriter."
The name Remington-Sholes attracted more attention than
any other feature of the machine, but it was finally changed
to Rem-Sho, for legal reasons.

REM-SHO

FIRST BASKET-SHIFT MACHINE.

The Remington Typewriter Company sought and se-
cured an injunction restraining the use of the name "Rem"
as an abbreviation of Remington, hence the name was
changed to Fay-Sho. The case was appealed, and the
court's decision which gave the injunction was reversed. In
the meantime, however, the machine had lost favor, if it
ever possessed any, with the public, and it was compelled
to seek a foreign market, as did several other machines that

were unable to make good in the United States. Later,
this machine was reconstructed almost entirely and given
the name Japy, as the "pedigree" proposition had failed to
contribute to its success as had been anticipated.

The "Rem-Sho,-Fay-Sho,-Japy" had a keyboard similar
to the Remington, but instead of shifting the platen the
whole type basket was shifted. This machine, of numerous
aliases, therefore, is entitled to the distinction of being the
first to shift the type basket for capitals. Another feature
that met with some favor was the interchangeable carriage.
It was possible to use carriages of different lengths on this
machine. It was also the first blind machine to have the
marginal stops in front.

YETMAN

The Yetman typewriter was invented by Charles E.
Yetman, who labored for many years trying to bring it to
a degree of perfection that would justify its being placed
upon the market. This he succeeded in doing about the
year 1903.

This machine was intended to serve a double purpose.
That is, it might be used as a regular commercial machine,
but its principal purpose was for the transmission of tele-
graphic messages. By pressing a lever on the left of this
machine it would open a telegraphic circuit and connect the
keys in such a way that telegraphic messages could be sent.
A corresponding lever on the right side connected the key-
board with the typebars and a message could be sent and a
copy made in type at the same time. It was also possible,
by releasing the lever on the left, to convert it into a type-
writer for ordinary commercial use, without any connec-
tion with the telegraphic circuit. It will be seen, therefore,
that the machine could be used for either or both pur-
poses.

The work of this machine was effectual, and it seems
strange that the principle has not survived and developed;
but it was evidently impractical from the fact that it has not
been revived since the company, organized to promote it,
met with reverses which caused its failure. The career of
this machine was short, but it promoted the idea of visible
typewriting among telegraph operators, for whom it was
primarily intended. Although few machines were made
and used, the telegraph operators learned through the
Telegraphic Age to appreciate the value of visible writing
for receiving and transmitting messages.

FOX

The Fox typewriter is a machine that possesses no
special merit. Its principal asset, in the original blind
machine, consisted in the typebar hangers. Its manufac-
turers claimed that wear and consequent lost motion in the
typebar bearings, which would affect the alignment, could
be readily adjusted. It was originally built after the style
of the Remington, that is, employing the understroke blind
writing principle.

All manufacturers up to this time found difficulty in
building their regular machine in such a manner that it
would respond to the speed of the typist, and most of them
provided special escapements, or reverse-action dogs, which
an ordinary operator could not use. The Fox typewriter
made an escapement which could be adjusted to meet the
requirements of the typist more nearly than any of the pre-
ceding machines. It was possible to cause the escapement
to be made either on the upward or downward movement
of the typebar.

The Fox contained no other improvements that might
be considered in the evolution of the typewriter over the
machines that had preceded it and did not possess sufficient
merit in its blind style of construction, or in any other

style for that matter, to encourage a very extensive trade,
as compared with some other machines.

PEERLESS

The Peerless typewriter is perhaps entitled to mention,
not because of the value of the machine, but because the
Smith Brothers, who became famous through the manufac-
ture of the Smith Premier typewriter and later the machine
to which they gave their name, were interested in the
machine. The Peerless typewriter was a double keyboard
machine. It contained no advantages over previous
machines and is given space here only for the reason as
stated above.

DUPLEX

The Duplex typewriter was an invention that did not
serve the purpose for which it was intended, that is, to in-
crease the speed of the typist. It was a double keyboard
machine divided into four sections. The capitals were on the
upper left side. There were two sets of small letters occu-
pying the lower half of the keyboard, while the upper right
half of the keyboard was taken up with numerals and punc-
tuation marks. It provided a means by which two keys
might be struck at the same time, thereby making two im-
pressions at once. That is, the typebars on the left struck
one space ahead of those on the right, and by striking any
two keys on opposite sides at the same time, it would give
two impressions in the proper space, the left coming first.

This method of operating was found to retard,' rather
than advance, the speed of the typist, and as a result the
purpose of the machine was not realized and its manufac-
ture was discontinued.

ELLIOTT-FISHER
The original idea of the early inventors of typewriters,

it seems, was to write in bound books, but no practical re-
sults in this direction had been attained until the Elliott
Book Typewriter was placed upon the market. This ma-
chine was later supplemented by improvements brought out
by a Mr. Hatch and the machine became known as the
Elliott and Hatch typewriter. This machine reversed the
general style of typewriter construction by having a sta-
tionary, flat writing plate and a movable head and key-
board. It would indeed write on books quite successfully,
but it required a great deal of shifting and adjusting to
hold the bound page securely in position in order to pro-
duce satisfactory results. The machine traveled from left
to right across and down the page. The entire machine
swung on a back way-rod, and was supported in front by
two wheels running on a flat steel track. This way-rod and
front track or frame were parallel, and supported the ma-
chine in its movement from left to right. The side frame
or plates, which supported the machine in its course down
the page, were cogged to correspond with two cog-wheels
which measured the line spacing.

This machine was not fast, because of the. fact that the
entire machine traveled over the printed page, instead of
carrying the page as did all other machines preceding it.
This changed the position of the keyboard from the left to
right every time a key was struck. It also necessitated a
change of the entire machine downward every time a line
was written. In other words, the entire machine traveled
on a frame over the writing plate from the upper left hand
corner of a book or printed page, down to the lower right
hand corner. If the book was large the arms had to be ex-
tended to write the first line, while on the lower line it was
necessary to draw the arms down following the movement
of the machine. In fact, the finger keys never occupied the
same position twice in writing a page. It will be seen
from this that speed, together with accuracy, was impos-
sible.

The work was beneath the machine and the whole type-
bar and finger key lever system, ribbon, and all working
parts of the machine had to be moved in order to see the
work.

During its introductory period a machine was invented
by Robert J. Fisher, embodying the same general princi-
ples so far as the operation of the machine laterally and up
and down was concerned. Two draw bands, or main-
springs, were necessary to pull the machine, The type-
bars stood above the printing point and struck downward,
something after the fashion of the Bar-Lock. The key-
board was on top of the machine above the typebars, which
made type-cleaning extremely difficult. This machine re-
quired three universal bars for the keys; one for the lower
bank, another for the second and third banks, and a third
for the upper bank.

By pressing a lever which threw the ribbon back, it
was possible for the operator to look down through the
machine and see the work to ascertain whether or not a
mistake had been made. If it was found that a correction
was necessary, the whole working parts of the machine had
to be moved. On the Elliott and Hatch machine, if the
operator was in doubt, it was necessary to move the entire
machine to remove the doubt.

A combination was formed between Fisher and the
Elliott & Hatch Company, which became known as the
Elliot-Fisher Company. This was due principally to the
fact that the Fisher machine made it more convenient to
see the writing. In other words, the necessity for visible
writing was recognized in order to satisfy a desire with
which the minds of the typist and the business public had
become imbued.

The Elliott-Fisher writes on a flat surface and there
are many claims made for the machine on account of this
fact, but the loose-leaf system of binding books soon mini-

mized the advantage of the Elliott-Fisher machine for
writing in books and as a result the company has turned
its attention almost entirely to billing and form work.
For some time their business was quite extensive in this
line, and it is still their principal asset, but progress means
development, and the typewriter industry provides no ex-
ception. The Elliott-Fisher is still active, but not to any
great extent as a correspondence or book typewriter, the
purpose for which it was originally designed. The follow-
ing is a cut of the latest model Elliott-Fisher.

ELUOTT-FISHER

The machine of today embodies the same general prin-
ciple. The improvement consists principally in making the
work more visible.

OLIVER

The Oliver typewriter is indeed an ingenious machine.
It is the product of the mind of Thomas Oliver, a minister.
It is said that Mr. Oliver, at a conference of ministers,

learned of the value of the typewriter for preparing and
preserving records of semons, and although he had never
seen a typewriter, he determined to construct one. The
truth of this statement is confirmed by the general appear-
ance of the machine, as there has never been a typewriter
of similar construction either before or since.

The typebars stand erect in two banks, one on each
side of the printing point. There are fourteen typebars in
each bank which stand a little back of perpendicular when
in a position of rest. These typebars vary in length; that
is, beginning with the inside bar, each succeeding bar in
the bank is just a little longer, stands a little higher, and
sets a little farther back than the one preceding it. Both
banks are alike, that is, the typebars in each bank are of
corresponding length. The outside bars, or those at the
extreme right and left, are about three times as long as
the inside bars.

To make these bars strike a common center with the
same degree of speed and force was indeed a difficult
mechanical problem. The typeblocks on the inside bars
are just a little heavier than on each succeeding bar, to make
up the necessary force that a body having a greater drop
acquires from gravitation. It was also necessary to change
the leverage of each succeeding bar, in order that the speed
might be increased accordingly. As these typebars stand
in an upright position when not in operation, they require
tension springs to return them to this position. Although
the forward movement of the typebar can be regulated by
leverage to equalize the speed of the typebars, and the
weight of the typeblock regulated to equalize the impres-
sion, this leverage and weight must be overcome in the re-
turn of the typebars. The connecting links that control the
typebars are attached to "shock absorbers" on the finger
key lever. This is necessary to prevent a disagreeable
touch in starting the typebars, which incline a little back of
perpendicular when in a position of rest.

Each typebar carries three characters. This makes a
double shift necessary. When the carriage is in its normal
or central position, the machine writes small characters
without shifting. To write capitals the carriage must be
shifted backward, while the figures and punctuation marks
require a forward shift. It is absolutely necessary that the
desk on which this machine sets be level, otherwise the
shifts work very irregularly. In fact, if the desk be sloped
equal to that of a cashier's desk, the backward shift will not
work at all. The shift keys at best are very heavy because
they are not aided by gravitation.

Visible writing is claimed by the Oliver, but the claim
is without the foundation of fact, at least in the sense of
complete visibility. Only the last ten characters of the line
of writing can be seen, and if it is necessary to read the
complete line or several lines to get the context, the car-
riage must be released and moved back and forth in order
that the writing line may appear in the reading space be-
tween the two banks of typebars. Therefore, to read sev-
eral lines on the Oliver might be aptly compared with read-
ing a newspaper through a knot-hole.

The Oliver is considered a good manif older; it does
good stencil work; it maintains its alignment fairly well;
and is considered quite durable, but it lacks speed; it does
not have a standard keyboard ; it is extremely noisy, and
when it is necessary to make erasures they have to be made
between the two banks of type. This necessitates great
care, lest the hand become soiled by contact with the face
of the type, which are the most exposed part of the
machine. The adjustments, levers, and releases used in the
operation of the Oliver are back and below the typebars.
There is no carriage reverse lever. The carriage is re-
versed by the left hand pushing in on the cylinder knob,
and as a result the line spacing does not take place until
the carriage approaches the end of the line. In fact, the

Oliver lacks many refinements and conveniences that other
typewriters have.

The machine, however, is better than the policy of the
company, which has always been uncertain and vacillating.
There has never been any fixed price on the machine, al-
though catalogued at one hundred dollars. Within the last
few months the price has been advertised openly at forty-
nine dollars, which would be about the average price re-
ceived for the machine since its introduction. This price,
however, demonstrates that the manufacturers recognize
that it is not worth what other machines bring, and this
change has placed it in its proper position — about half the
standard value.

OLIVER

When the Oliver was first placed on the market its
manufacturers and salesmen everywhere claimed for it visi-
ble writing, all of which served to stimulate the increasing
desire for a typewriter that would actually produce visible
writing.

VISIBLE WRITERS

The development of manufacturing facilities, the re-
quirements of the business man and the demands of the
typist, resulted in directing the efforts of inventors to-
ward producing a strictly visible writing machine, as has
been shown. Many unsuccessful efforts had been made,
and some manufacturers actually claimed visible writing,
but their claims were not sustained by practical results,
as some machines only showed one line, others a short
space between the bars, while on others it was necessary
for the operator to lean forward in order to see the work.

PROUTY

In response to the requirements of a universal demand
many efforts were made to invent a machine that would
produce and continue visible writing from the first to the
last word. In 1888, E. Prouty, of Chicago, Illinois, in-
vented a front stroke machine to which he gave his name.
Mr. Prouty more nearly accomplished the desired result

PROUTY

FIRST FRONT STROKE MACHINE'.

than any former inventor,- but he failed in that the writing
was hidden to the extent of the width of the ribbon. This
machine, therefore, contained nothing more than an idea,
which, having been sown in the fertile mind of genius,
took root and produced an abundantly satisfactory har-
vest, as future developments show. The machine embodied
the first front stroke principle, and the writing was visible
except at the immediate writing point, this being covered
by the ribbon which ran from the front to the back of
the machine instead of horizontally, as on all typewriters
of today.

GRUNDY

On June n, 1889, Mr. Arthur Grundy, of White-
stone, New York, secured a patent for a front stroke
machine on which the ribbon ran horizontally, falling back
out of the vision of the writer after the impression had
been made. In his patent claim Mr. Grundy says: "The
exposing of the line of printing is brought about primarily
by mounting the inking ribbon upon a tilting frame, which
is raised to position at every stroke of the type arms."

This machine was never placed upon the market and
is only given space here because it advanced an idea in
the evolution of the typewriter from which the business

world has received great benefit.

■-

DAUGHERTY

The next machine and a more highly developed
product was the Daugherty. This machine also embodied
the front stroke principle and the writing was entirely visi-
ble all the time, but it was only a step in advance of pre-
vious efforts of manufacturers to produce a strictly visible
writing machine without impairing in any way, but rather

improving, the efficiency of blind machines. This machine
was simple and contained very tew parts — in tact so few
that the requirements and refinements necessary for all
kinds and classes of business were lacking, but its advan-
tages as well as its disadvantages served to suggest im-
provement over the Prouty, and it is entitled to consider-
ation and great credit in the evolution of the typewriter.

An effort was made to improve the machine and make
it tit the requirements of the business world, but it had
gotten a wrong- start, and although its name was changed
to the Pittsburg Visible, it could not overcome the handi-
cap of a "wrong start." and as a result the machine was
not a success. However, it embodied ideas that served to
assist in the perfection of its immediate successor.

UNDERWOOD

The Underwood is the first practical front stroke, com-
pletely visible writing machine, and. as will be shown. tJic
pivotal machine which revolutionised the typewriter in-
dustry by forcing other manufacturers to turn round to a
common-sense basis. Hence, the Underwood is the last
step in the evolution of the typewriter today. The ma-
chines mentioned hereafter, that have been compelled to
imitate the Underwood, only serve to emphasize this fact,
and for this purpose and for historical information are
considered.

Mr. Fran- X. Wagner, of New York (recently de-
ceased), had been associated with the development of the
earliest models of the Remington. Caligraph, and other
writing machines since their inception. This gave him
an extensive experience in typewriter construction, as well
as a thorough knowledge of public requirements, and the
desires of the typist for visible writing;. He was also
familiar with the efforts and failures of manufacturers to
produce a satisfactory visible writing machine.

Profiting- by the mistakes of others, but more espe-
cially by personal experience, Mr. Wagner invented a type-
bar mechanism and incorporated it in a machine, for which
he filed application for patent, April 27, 1893, the same
being granted July 31, 1894 (No. 523698). This machine
later became known as the Underwood.

The result of Mr. Wagner's invention not only solved
the problem of visible writing, for which other inventors
had been striving for years, but the fundamental principles
involved in the Underwood brought about radical changes
in future typewriter construction. This machine not only
produced actual visible writing, from the first to the last
word — for which typists had been asking every time they
raised the carriage to inspect the work — but it embodied many
other radical, practical improvements.

It is truly said that typewriter inventors first devise
the principle and construct the typebar, then build the
machine around it. Mr. Wagner's chief object was to in-
vent a strictly visible writing machine without sacrificing
any of the advantages employed in former typewriters.
This he did, and the style of mechanism necessary to ac-
complish his object developed so many excellent, superior
features that the results even exceeded the anticipations
of the most ardent advocates of visible writing. For ex-
ample: The front stroke principle of the typebar brought
the type, face up, in front of the typist, practically inviting
the brush, which resulted in clean, clear impressions. The
marginal stops are in front; the scale with which the
machine is provided for setting marginal stops, tabular
stops (corresponding with tabular scale), and the scale
locating the exact position of printing, are also in front;
and many other conveniences which older machines did
not possess.

The Underwood typewriter, which was manufactured

by the Wagner Typewriter Company during its experi-
mental period, was invented and introduced at a most
opportune time. The efforts of other inventors and the
advertising of other manufacturers, who had attempted
to produce visible writing, had thoroughly prepared public
opinion for it, and the sterling qualities of the Underwood
not only satisfied their desires, but inspired their immediate
enthusiasm.

UNDERWOOD

Mr. John T. Underwood, who had been connected
for many years with the typewriter supply business, was
thoroughly familiar with the requirements of the trade.
He recognized fully the value of visible writing, as well
as the many other excellent features employed in the
machine, and as a result bought Mr. Wagner's inventions
and interests. Mr. Underwood associated with him Mr.
D. W. Bergen, present treasurer of the Underwood Type-
writer Company, and later Mr. S. T. Smith, General
Manager of the company, which position he retained until
his death in May, 191 5.

Inasmuch as the Underwood represents the acme of
perfection in present-day, practical typewriter construction,
it is not out of place to describe the machine more in
detail.

The Underwood typewriter first occupied three rooms
in the St. Paul building, 220 Broadway. In 1894-5 a
few hand-made models were produced. In 1896, the esti-
mated output was fifty machines; in 1897, two hundred
eighty-six; in 1898, two thousand one hundred sixty-seven.
From this time the growth of the Underwood has been
phenomenal, both on account of the merit of the machine,
and the broad policy of the Company.

The Company soon found it necessary to seek larger
quarters, which were secured in Bayonne, New Jersey,
in 1898, but the demand for the machine became so in-
tensely active that it became necessary to make further
provision for better manufacturing facilities in a permanent
home. This resulted in the purchase of a site at Hartford,
Conn., to which place the factory was moved in 190 1. At
that time the employes of the factory were only about
three hundred — today, under normal conditions, they ex-
ceed five thousand.

The Underwood typewriter is most compact and com-
plete. It is the embodiment of strength, symmetry, and
simplicity.

There are four fundamental principles in the con-
struction of a typewriter to which all others are supple-
mentary. First, the typebar construction and action,
which makes the impression; second, the escapement or
movement of the carriage from right to left, which gives
new space for each succeeding character; third, the move-
ment of the ribbon which provides coloring matter for
the impression ; fourth, the return of the carriage from
left to ri°:ht.

The Underwood typebar construction is unique, there

being but three parts — the finger key lever, the connecting
link, and the typebar proper — each of which is simpler
and stronger than the corresponding part of any other
typewriter. In addition to the simplicity of the typebar con-
struction there is but one part to all o\ the typebar bearings;
one part to all of the bearings oi the links: and one part to
all of the bearings o\ the finger key levers.

UNDERWOOD TYPEBAR BEARING

The typebar construction of the Underwood is such
that the impression and the escapement are both made
by the typebar proper at the same time; that is, while the
type impression is being made, the heel of the typebar at
the bearing comes in direct contact with the universal bar
which controls the escapement, thus eliminating all possible
lost motion between the stroke of the key and the escape-
ment. This is not common in other machines.

The position of the type, as referred to before, enables
the typist to clean the type instantly and as often as
needed, without soiling the hands. The Underwood is
also provided with an adjustable type-guide, which insures
absolute control of the typebar at both ends, at the bearing
and the printing points.

The marginal stops are set instantly at any desired
point without guess or doubt. Tt is also possible to get
into the margin on the left without moving the stops by
simply depressing a lever at the right of the thumb-piece
on the right, front corner of the carriage frame, and

UNDERWOOD ADJUSTABLE TYPE-GUIDE

pulling the carriage over. To get additional characters at
the end of the line after the keys are locked, touch the
button above the back-spacer on the left of the machine.

UNDERWOOD MARGINAL STOPS

(IN FRONT)

Ball-bearings are employed wherever it is mechanically
practical. The carriage rides on ball-bearings, the rotary
wheel escapement is on ball-bearings, and the mainspring
rotates on ball-bearings, all of which make a complete
circle, thus providing for an even wear on the bearings.

The Underwood typewriter embodied the first in-built
tabulator and controlled all patents of any kind covering
the tabulating idea. The tabulator stops are attached to
a rod in the back and may be shifted to any desired posi-
tion on the tabular rack, the scale of which corresponds
with the front scale. Any number of stops may be
provided.

UNDERWOOD TABULAR STOPS

The forward movement of the typebar is accelerated
by means of a cam in which the actuating lever works,
and while this insures a quicker forward movement, the
reaction of the universal bar, with which the typebar
comes in direct contact, forces the quickest possible return

UNDERWOOD TYPEBAR AND UNIVERSAL BAR

of the typebar. This is most important as speed and
accuracy in typewriting consists more in the return of the
bar than in the forward movement. This comes from
the fact that the forward movement is governed by the

skill of the typist, while the return movement depends
entirely upon the mechanism of the machine.

Not the least among the many original features of
the Underwood typewriter is the placing of the right hand
shift key down in the lower bank on a level with the left

UNDERWOOD ESCAPEMENT

hand shift key. This has made possible a balanced hand
action, so necessary in touch typewriting. The accurate,
even escapement of the Underwood typewriter is the result

UNDERWOOD INDIVIDUAL KEY TENSION

of the rigid dog being beveled, which permits the carriage

to start forward instantly the typebar leaves the printing
point. The individual key tension of the Underwood, an-
other ordinal feature, makes it possible to adjust each finger
key to the desire and requirements of the touch typist. This
feature has not as yet been successfully imitated.

One of the splendid though seemingly minor features
of the Underwood is the cushion upon which the type rest.
This is patented, and consists of a bag of shot to prevent
a rebound when the typebars return to the position of rest.
In addition to the cushion preventing reaction of the type-
bars, the shot, being round, the return of the typebars
keeps the shot in their proper position in the bag. This
contributes greatly to the speed and accuracy of the ma-
chine, by preventing the type from clashing on the re-
bound.

Much more might be said with reference to the many
superior features oi the Underwood typewriter, but it
could not be expressed more intelligently and impartially
than by quoting the certified report of the Franklin Insti-
tute accompanying the Elliott Cresson Medal, which it
issued to the Underwood Typewriting Company in 1910
for "Ingenuity, Skill, and Perfection of Workmanship."

The Franklin Institute of Pennsylvania was estab-
lished nearly a hundred years ago. Its object is the pro-
motion of the Mechanic Arts, by educating mechanics and
encouraging manufacturers "by offering premiums on all
objects deemed worthy of encouragement, and examining
all new inventions submitted to them.'' The membership
of this Institution consists of the most expert and influen-
tial body of mechanical engineers in the world, and its
awards are recognized as the highest and most important
that are issued. The Franklin Institute issues a number
of medals, of which the Elliott Cresson is the highest.
The value of its awards will be appreciated more fully
from the fact that its recognition can be gained only
through the medium of merit.

The awarding of the Elliott Cresson Medal is safe-
guarded by the publication of the Committee's report, setting
forth the Institute's intentions "in three successive issues of
the Journal of the Franklin Institute."

The Underwood Standard Typewriter was before the
Institute for investigation for more than a year before
the final granting of the award. The report accompanying
the medal follows:

"HALL OF THE INSTITUTE

Philadelphia, February 2, 1910.
No. 2473.

The Franklin Institute of the State of Pennsylvania, acting
through its Committee on Science and the Arts, investigating the
Underwood Typewriter of the Underwood Typewriter Company, re-
ports as follows:

In the thirty-five years that have passed since the Franklin In-
stitute was called upon to pass judgment upon the merits of the first
practical typewriting machine that was then being offered for gen-
eral use, as embodied in the Sholes and Glidden invention, (later the
foundation of the well-known Remington Typewriter) the writing
machine has become indispensable to our business life. It is but nat-
ural that so important and useful a piece of mechanism should have
undergone in these years many changes in construction in response
to the demand for greater efficiency and wider range of work as its
use became more general. To these improvements an army of in-
genious mechanicians have given time and talent, out of which efforts
the marvelously complete typewriter of today has developed.

During the first fifteen years of writing machine history the
understroke machine attained such prominence that few looked for
any radical change in the then accepted form, which had reached enor-
mous demand, and was considered to be well-nigh ultimate perfection.
There were some minds however that reasoned that the capacity of
the typewriter could be greatly increased by some new arrangement
of typebar action that would cause the printing to be made in full
view of the operator, and thus avoid the necessity of lifting the
platen in order to see the writing accomplished.

Evidence of this conviction began to appear in practical form
with the invention of the front stroke visible typewriter as shown

in the patented efforts of Messrs. Prouty and Hynes, No. 389854,
September 18, 1888. Like many others this first attempt lacked
in details and completeness many essentials to qualify it as a rival of
the well accepted machines of the older form. Other inventors how-
ever soon began to supply the deficiencies, and in a very short time
the essentials of a complete and practical visible typewriter had been
devised, and the threatened invasion of the field began to look more
formidable.

Contributions of value in this new departure developed rap-
idly in the years following 1890, and it is in part from these inven-
tions that the present Underwood Typewriter obtained its footing,
which paved the way to the high state of perfection of that machine
as it exists today.

The inventions patented and controlled by the Underwood Type-
writer Company now number more than fifty, printed copies of thir-
teen of the more important ones issued between the years 1890 and
1906 are on file with the papers pertaining to this case, and may be
consulted for more detailed description of the devices therein covered.
(Patent numbers and dates only omitted.) Among the more promi-
nent features of the Underwood Typewriter which merits special men-
tion we desire to refer to the Gathright Tabulating device, patented in
1890. This is an ingeniously contrived element to equip the machine
with facilities for tabular work and bill writing, adding notably to
the field of usefulness of the writing machine.

This invention, largely copied, has been held by the United
States Circuit Court of Appeals, in an action for infringement, to
be a basic patent. The Court in sustaining this patent says : 'In
short we are constrained to say that to Gathright belongs the credit of
constructing the first commercially successful tabulator, his invention
belongs to that large class, which has ever been treated with liberality
by the courts when the inventor by an apparently simple change, addi-
tion or transposition of parts, has converted imperfection into com-
pleteness.'

The tabulator consists of a system of adjustable stops mounted
upon a special rack-bar running parallel with, and back of the platen.
When these movable stops are set at desired intervals along the rack-
bar they act as positive stops to bring the platen into position to print
columns of figures. A tabulator key releases the platen from the
restraint of the usual escapement rack and allows it to make a quick
pass to the tabulator stops, one after the other as desired. Con-

nected with the release key is a friction device that places the
speed of travel of the platen over the long interval between the tabu-
lator stops within the control of the operator, by using more or less
pressure upon the key as the platen moves ; these tabulator stops do
not in any way interfere with the regular type-width escapement of
the platen when no tabulating is to be done.

The whole tabulating device is an added facility that materially
increases the scope of the typewriter for column work and is an im-
portant time saver to effect positive wide interval stops of the platen.

A very important device is the escapement, which controls the
intermittent lateral movements of the platen, with a degree of speed
and precision that is remarkable. Perfection in this part of a type-
writer implies a device that will actuate the platen immediately after
each type impression is made, without perceptible effort on the part
of the operator, and with a rapidity of action far beyond the require-
ments of the most expert operator, at the same time the wearing
quality of the parts that affect the release and catch movements must
be such as will withstand the severe shocks given one hundred thou-
sand times daily for several years with undiminishing reliability.

The committee has taken pains to thoroughly test the Underwood
Escapement with regard to its ultimate speed, and for wearing quali-
ties as developed in typewriters having had eight years of hard usage.

Expert, prize winning operators have demonstrated their ability
to write for an hour at the remarkably high speed of ten strokes
per second, and have written for the committee, from one to two
minutes, at the enormous rate of fourteen strokes per second, with-
out errors.

An electrically driven automatic typewriting machine which oper-
ates in the manner of the familiar mechanical piano player has also
demonstrated its ability to produce beautiful work on the Underwood
Typewriter at a speed of fourteen strokes, or impressions, per second,
continuously. Having thus obtained reliable results of the efficiency
of the Underwood escapement up to fourteen strokes per second, your
committee felt an interest in an effort to determine the ultimate speed
efficiency of the escapement. To reach this result a mechanical writer
was made that would enable tests of speed to be made indefinitely,
and with the aid of this machine the typewriter was operated at in-
creasing velocities up to twenty strokes per second. The result
showed that, up to eighteen strokes per second, the Underwood Type-
writer responded perfectly, under normal conditions of spring tension

to platen, which rate is already far heyond the reach of the human
hand. As to the durability of the escapement parts we find in type-
writers which have had more than five years of average usage no det-
rimental wear, which means much for the design of the device and
for the good workmanship given it.

The combination of key-levers and type-bars with their con-
necting links, and the mountings for the system, form a very im-
portant part of the typewriter details. To secure a light, uniform
touch, with ample power for heavy manifolding work, and an absolute
alignment of printed matter always, with a controlled evenness of
impression can only be reached through superior design and good
construction. The extreme simplicity of the Underwood key and
type-bar system contributes much to the excellent result obtained. A
key-lever, a type-bar. and a connecting link form the complete work-
ing combination. Only when this combination is compared with the
same parts in a large number of the most prominent typewriters
now in use. which employ from eight to sixteen parts for the same
service, can we fully realize what 'simplicity' means, and where sim-
plicity of design is backed up by the use of the best materials and
by good construction, the effectiveness and wearing qualities are cer-
tainly increased. It is in this part of the typewriter that hard usage
will soon produce ill effects if either the design or the workmanship
is faulty. In the Underwood system the action of the type-bar to
move the universal bar. which prepared the releasing dog of the
escapement just before the type impression is made, is not only a
sure means of releasing the escapement at the proper instant, but it is
done without being felt by the operator. A rigid abutment situated
a little below the middle of the length of the type-bar. acts as a stop
to limit the stroke of the type, so that the impressions are very uni-
form, not varying perceptibly with the strength of the impact upon the
key. and this - greatly to the neat appearance of the writing. Each
key-lever has its individual tension spring located quite near the
fulcrum, which. s ed to overcome simply the weight of the

key-lever, is the only adjustment necessary. This tension is so little
beyond the balancing of the weight of the lever that it is not felt by
the d the lightness touch is not impaired. Xo other

spring is used in the type-bar acti

The g : the Underwood Typewriter is accomplished

when the : the type-bars, before the latter are

put into the ma When the type-bars are placed in position.

gnOH and will never change. The permanency of

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the alignment is materially assisted by the type-bar guide so located
that it does not interfere with the visibility of the writing while afford-
ing a perfect locking device for the type when at the printing point,
effectually preventing any side motion of the type-bars. The accuracy
of alignment is further assisted by hanging the type-bars in a slotted
segment, every slot having been cut by a specially constructed ma-
chine, so perfectly that they all converge accurately to a common
center. Aside from the several prominent features herein referred
to at some length, there are still many essential paits that in some
modified form are common to most of the high grade typewriters of
the time. The Underwood lacks none of the desirable features that
practical use has qualified as essential to the typewriter complete. In
all these parts we find the same painstaking simplicity and effective
form of design.

Abundant opportunity was given the committee to examine min-
utely every detail of the manufacture of its writing machine at the
factory, in Hartford, Conn., where, under the most able management,
the best materials obtainable are converted by a very superior equip-
ment and through exacting workmanship into a writing machine of
extraordinary perfection in its minutest details.

In recognition of the very meritorious inventions embodied in
the Underwood Standard Typewriter, and of its exceedingly simple
and efficient details of construction, forming a wriiing machine of
the most advanced type, with unsurpassed capabilities and excellent
make-up throughout, the Institute awards the Elliott Cresson Gold
Medal to the Underwood Typewriter Company, for the Ingenuity,
Skill and Perfection of Workmanship displayed in the Underwood
Typewriter.

Adopted at the stated meeting held Wednesday, February 2,
1910.

(Seal) WALTER CLARK,

President,

R. B. OWEN,

Secretary.

Countersigned, THOS. SPENCER, Chairman of the Committee on
Science and the Arts."

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In 1890, four or five years before the first Underwood
was built, the Hammond Typewriter Company was
awarded the Elliott Cresson Medal for its shuttle feature,
which provides for the use of various languages merely
by changing the type shuttle. This is the one feature that
has kept the Hammond before the business world, thus
demonstrating the discernment of the Franklin Institute
verdict.

Although seven years have elapsed since the Elliott
Cresson Medal was first awarded the Underwood Type-
writer, no other typewriter has been able to displace it or
secure this much coveted prize. This is due to the fact
that for ten years the Underwood Typewriter Company
was the sole advocate of the front stroke visible principle.
During this time all of the best basic ideas embodied
in the principle of front stroke visible writing were in-
vented and patented, and other companies were compelled
to evade these patents when it became necessary to embody
the Underwood idea in order to continue their existence.

From the report of the Franklin Institute it will be
seen that the Underwood represents the highest achieve-
ment in typewriter construction. The "History of the
Typewriter," by Geo. Carl Mares, says with reference to
the progress of visible writing: "Probably nothing in any
mechanical art has been more marked than the progress
of this principle, and in this respect the Underwood type-
writer would seem to deserve all the honours which natur-
ally fall to the successful leader of a revolution." Com-
ments concerning machines that follow are made for veri-
fication and historical information.

When the Underwood was first placed on the market,
its many superior advantages were immediately recognized
by an exacting, critical public. As it grew in favor it
became the target of all competition, against which they
hurled the most absurd and ridiculous criticism and pro-

test, because it embodied the first radical departure from
the primitive principle embodied in the first practical type-
writer.

This strenuous opposition, however, only served to
stimulate the determination of the manufacturers, for it
demonstrated that competition recognized in the
Underwood a most dangerous foe. Besides, in their ex-
cessive zeal to control the typewriter situation by discour-
aging the progress of the Underwood, circulars were is-
sued to their managers and salesmen pointing out the
defects, both real and imaginary, which as a matter of
course fell into the hands of the Underwood manufac-
turers, and served as a guide for further refining and
perfecting the machine.

Encouraged by the success of the machine and the
vigorous, energetic opposition of competition, the manu-
facturers have exerted every effort that energy, genious,
mechanical skill, and unlimited capital could command, in
continuing the highest state of perfection possible in the
construction of the typewriter.

The opposition to visible typewriting by some of the
older companies is clearly demonstrated in their attitude
as expressed in the following circular letter, dated October,
1904, sent to branch managers and salesmen:

"We are fully aware that there is a large demand for visible
writers, and that this demand appears to be growing. We are not
asleep. It is our business to keep posted about the wants of the

public, but it is also our business to safe-guard reputation

and to discriminate between passing fancies and things that have

come to stay. The can take no liberties with its reputation.

To put our name on any visible writer that has yet appeared would
be taking such a liberty.

We are and always have been experimenting along new lines.
We have experimented with visible models for the past five years.

We are seeking one worthy of the name , but we are no

nearer having it today than we were five years ago. We may be no
nearer having it a year hence than we are today. We may never

have it. But, if not. no one else shall. If and when it does appear it
will be ours. We now have several models that would tickle the
fancy of novices, hut we have none and have seen none good enough
to satisfy the vast army of experienced operators or to satisfy the
man whoso money pays for the machine, and it is by catering to these

two that the name ' ' had become great. The machine that

can successfully challenge supremacy has yet to be heard

from.

A visible writer may be the machine for the future, but that
fact has yet to be determined. When it has been determined, the

best machine of that kind will bear the name ' ' no matter

what it costs. Meantime, with a factor}' working night and day, and
many thousands of machines behind orders, and a yearly increase
which is greater than the total business of any visible writer, we
view with comparative complacence the trade that such machines
are securing, because we do not consider it lost. Only a part of it
ever was ours, and that has merely strayed away. We. too, are
getting much of the benefit of their work today.

We are used to 'bugaboos.' We have been through the 'shift-
less machine scare.' and the 'wheel machine scare.' and the 'ribbonless
machine scare." and the 'electric machine scare.'i All of these

' annihilators' in their time looked dangerous. Where are

they today? Of course this one may be the exception. But it, too.
may fail. If it does, we shall have avoided its error and enjoyed our
success without interruption: but if. on the other hand, it ultimately
succeeds, we shall gobble up its success. If time proves their doctrine
to be right, we shall get the benefit of all their work, for you know.

and we know, and every one knows, that if the ever does

put out a visible writer, the virtue of its name, the reputation of its
house, and the size and effectiveness of its organization will enable

the army to take by storm every stronghold that these

feeble fellows have set up. We can do these things because of our
power; but our power is because of our reputation, and our repu-
tation is because we are right, and it lasts because we don't trifle with

it. The name ' ' on any one of a dozen visible models of

today would make an immediate success — a temporary success. But
what then ? We contemplate no such suicidal policy. It would be
an abuse of the confidence of the public, which confidence is based

on the fact that the name-plate has meant for thirty years

the best there is. The machine to which the name is attached has
always been the best, it today is the best, and it always will be the
best, whatsoever model that may be."

L. C. SMITH & BROS.' TYPEWRITER

L. C. Smith, the leading power in promoting the
Smith Premier, and active in the formation of the Union
Typewriter Company, was the first member of the latter
company to openly recognize the absolute demand of the pub-
lic for visible writing. As a result he sold his interest in the
Smith Premier Company to the Union Typewriter Com-
pany and organized the L. C. Smith & Bros. Company,
for the purpose of building a front stroke visible type-
writer, which the Underwood had already demonstrated to
be practical.

This company established a unique reputation for
itself by building a sales organization several months
before it had built a machine for sale. In other words,
they opened splendidly equipped offices in many of the
principal cities of the United States before they had a
machine to show or deliver. This, however, served its
purpose as a medium of advertising, because it kept the
public on the tip-toe of expectation, and when the machine
did appear, it was already well-established in the minds of
buyers and typists. But in this case the realization did
not satisfy the anticipation, because the first models of the
L. C. Smith, like all new machines, were in a crude, ex-
perimental stage, and as the public had already learned
what it wanted, the defects in principle and construction
were quickly disclosed. This caused an immediate reac-
tion, which served an excellent purpose by forcing the
manufacturers to make some radical changes in refining
and improving the machine.

As a result of the reputation the Smith Brothers had
gained as manufacturers of the Smith Premier, and their
liberal policy, together with the refining effects on the new
machine, the L. C. Smith & Bros. Typewriter soon secured
quite a following.

The production of this machine confirmed and em-
phasized all the claims of the Underwood, and such other
improvements as were made were along the lines already
incorporated in the machine which had established the
front stroke visible writing- principle.

The L. C. Smith Typewriter has an attractive ap-
pearance in design and finish. The typebars in the first
machines had what the manufacturers were pleased to
call in their literature "The pivot-and-side-wall typebar
bearing, a distinctive feature, unique to this machine,
which allows greater play to the typebar (combined with
an absolutely accurate throw) than any other typebar con-
struction. In it the problem of 'permanent alignment/
which has always vexed typewriter manufacturers, has
been completely solved. The alignment of the L. C. Smith
& Bros. Typewriter is POSITIVE and it is PERMA-
NENT!"

Regardless of the foregoing broad statement, in 1907
they discarded this "distinctive feature, unique to this
machine," and built a machine with what they term a
"ball-bearing, long wearing typebar." This feature they
today make much of, but in order to control the typebar
at the printing point they adopted a type-guide. This
guide, however, is not very effective, as the L. C. Smith
is a basket shift machine; that is, all of the typebar mech-
anism is shifted instead of the platen, when capitals and
other upper case characters are required. This also makes it
necessary to shift the guide, which cannot be done with as
little wear and the same degree of accuracy as the platen
shift. The printing point on the platen is a little back of the
perpendicular of the typebar bearings, and as a result the
typebars do not recover as quickly as the typebars on the
Underwood, which do not pass the perpendicular and are
compelled to return immediately by the reaction of the uni-
versal bar.

The typebar of the L. C. Smith, in its action from
the position of rest to the striking point, where the im-
pression is made, describes a quarter of a circle. In other
words, it makes one-quarter of a revolution then drops
back into its original position. It is just as far from the
position of rest to the striking point as it is from the
striking point to the position of rest, and as the typebar
does not make a complete revolution it was found that
the balls in the bearing returned to their respective posi-
tions. To prevent this the number of balls in the bearing
was reduced from sixteen to fifteen, thus leaving the space
of one ball, which allows the balls to advance just one
space each time the typebar strikes.

Including the balls there are eighteen parts to each
typebar bearing; there are forty-two typebars, which makes
a total of seven hundred fifty-six parts in the bearings of
all of the typebars, while in the Underwood there is just
one part to all the typebar bearings. Exclusive of the
bearings already explained, the typebar combination con-
sists of the typebar, the finger key lever, the lower con-
necting link, a sub-connecting link, and a collar or sheave
between the main connecting link and the finger key lever
— five separate and distinct, active parts as compared with
three on the Underwood.

For years this company opposed a type-guide; they
decried the necessity of protecting the type face; they also
advocated the right-hand carriage return, but in their
latest models they have adopted a type-guide, a means to
protect the type, and a left-hand carriage return (the latter
if desired), all of which features were original with the
Underwood. This company has brought out a number
of models, the latest being the No. 8, for which they
claim the principal advantage is that it makes less noise
than their former product. This is true, but the changes
necessary to produce this effect have not met with the

satisfactory results anticipated by many formerly satisfied
users.

L. c. SMITH

The death of L. C. Smith, several years after the
machine was placed upon the market, had at least a tem-
porarily detrimental effect upon its development and
progress, as the organization seemed to show the lack of
his aggressive, determined disposition. L. C. Smith did
much for the typewriter business, and his death was a
blow to the entire industry.

MONARCH

The withdrawal of the Smith Brothers from the Union
Typewriter Company and the announcement of their inten-
tion to build a visible typewriter created consternation in
the ranks of the Union Typewriter Company. This com-
pany immediately began to dig up "visible models" with
which they had been "experimenting for the past five
years" in order to forestall the Smith Brothers in their new
enterprise.

The Monarch typewriter was the result of these ef-
forts. It was thought by many that the first Monarch
was not intended to be a success, but rather to try out the
"visible experiments" of the Union Typewriter Company,
and in the meantime hold the trade until they were able
to produce a better machine, or through the Monarch dis-
credit visible writing. It appears, however, that they
builded better than they knew, because the Monarch type-
writer was received with considerable favor, and it served
at least to prove, rather than disprove, the demand for visible
writing, and that the machine possessed more merit than
they had anticipated.

This machine appeared on the market in 1904, and
marked the beginning of the end of the "blind" writer,
because as later developments proved, the Union Type-
writer Company immediately began remodeling the Rem-
ington, the Smith Premier, and the Yost typewriters,
transforming them into visible writers. As a result the
only feature recognized after the transformation was the
name-plate. This placed the Union Typewriter Company
in a unique position — that of holding on to the "blind"
principle with one hand and building a visible machine
with the other, because both were controlled by the same
capital and directed by the same management — one group
of salesmen advocating visible writing and another de-
nouncing it.

The typebar mechanism of the Monarch typewriter is
quite complicated, there being ten separate parts as com-
pared with three on the Underwood. (See typebars. ) The
universal bar adheres to the old Remington principle; that
is, it is beneath the machine, and is operated by the finger
key lever. This method of transmitting power results
in much lost motion. The typebar bearings are of the
pivotal character and necessarily wear unevenly on the
side bars. The machine is not supplied with a guide, and
the alignment shows the lack of support of the bar at the

printing point. The typebar proper is so constructed that
it requires a little spiral spring to aid the bars to return
promptly from the printing point, and to prevent shadow-
ing. These springs are attached at one end of the back
of each bar and to the segment at the other. They are
necessary, not only to get one bar out of the way of the
other at the printing point, but to prevent the rebound
of the bars when they return to their position of rest in
the basket.

MONARCH

FIRST VISIBLE TKCDrCT OF THE REMINGTON

The Monarch typewriter is also a basket shift machine
like the L. C. Smith. It has a left-hand carriage reverse
and many other features common to the Underwood. The
claim of the manufacturers is that there is no bar or ob-
struction whatever in front of the machine to prevent the
typist from seeing all of the work. This, however, necessi-
tates placing the marginal stops in the rear, and other-
wise inconveniencing the typist. Besides, the top front
bars on the Underwood and L. C. Smith do not interfere
any more with the vision of the typist than does the space
bar in front of the kevboard.

SPEED AND ACCURACY
CONTESTS IN TYPEWRITING

Typewriter competition had become so active, and
opposition to the front stroke visible machine so pro-
nounced, that the manufacturers of the older "blind"
machines sought to prove the superiority of the principle
of their product by arranging a series of typewriter con-
tests. It is believed that this action was largely for the
purpose of discrediting the front stroke machine, the type-
bars of which were encompassed within the space of less
than a half circle, whereas the typebars in the blind
machine occupied a full circle. The first of this series of
contests, which have been kept up continually since, took
place March 20, 1905, in Chicago. The Underwood did
not enter.

To force the issue, however, and bring the Underwood
out, another contest was arranged in the same year for
October 31, held in Madison Square Garden, New York
City. The one hour dictation contest was won by Miss
Mae Carrington; Miss Rose L. Fritz, then just out of
school, second, both using Underwood typewriters. This
was a blindfold championship contest. For the American
Typewriting Championship (copying) two elimination con-
tests were held, one for five minutes and the other for ten
minutes, Miss Rose L. Fritz winning both, using the
Underwood; Mr. Paul Munter, second, using the Rem-
ington ; Miss Mae Carrington, third, using the Underwood ;
and Mr. Chas. M. Nelson, fourth, using the L. C. Smith.
In both of these elimination contests the typists stood in
the same order, Miss Fritz winning at the rate of 73
words a minute, and Mr. Munter, her nearest competitor,
at 59. In the final thirty minute contest, however, Paul
Munter was first at 70 words a minute and Miss Fritz
second, at 69 words a minute.

Fixed rules at that time, however, had not been defi-
nitely established, and Miss Fritz lost the first position
only because she repeated 23 words for which she was
penalized five words for each word repeated. Even with
this penalty Miss Fritz lost by only 15 words, when in
fact she had written correctly 100 more words than her
nearest competitor. Today, according- to the revised rules
of 1917, a typist is not penalized for a repetition if it does
not contain an error.

In 1906, Office Appliances, in order to promote an
unbiased interest in these contests, offered a cup, which
was to become the personal property of the winner in
three consecutive contests. This was first competed for in
Chicago, March 23, 1906, and won by Miss Fritz, using
the Underwood, at the rate of 76 net words a minute ; her
nearest competitor, using the Remington, wrote 64 words
a minute.

On November first of the same year, 1906, this cup
was again competed for in Madison Square Garden, New
York, and won for the second time by Miss Fritz at the
rate of 82 net words a minute.

In 1907, March 21, in Chicago, this cup was won
for the third time by Miss Fritz with a record of 82 net
words a minute, the cup thereby becoming her permanent
property.

In the meantime such interest had been shown by so
many manufacturers, such as the Underwood, Remington,
Monarch, Fay-Sho, Smith Premier, L. C. Smith, Fox, and
other typewriters, all of which had taken part in the con-
tests, that Office Appliances, a magazine published in
Chicago in the interest of office efficiency, conceived the
idea of offering a permanent trophy on a broader basis.
In other words, they took steps to arrange for a World's
Typewriting Championship Trophy, to be competed for
annually in New York. The World's Championship title

$1 ,000.00

INTERNATIONAL IYPEWRITING TROPHY WON ELEVEN SUCCESSIVE YEARS RY TYPISTS
USING THE UNDERWOOD

was to be awarded the winner and his name engraved
on the cup, which was to be held in trust from one contest
to the next by the company manufacturing the machine on
which it was won. They submitted their proposition to
all of the leading typewriter companies, who not only
gave their approval but subscribed to a fund for pur-
chasing this cup, which was specially designed and manu-
factured at a cost of more than a thousand dollars. The
contests for this cup were open to typists of the whole
world.

Experience had demonstrated that the rules governing
these contests should be revised to cover every error,
whether mechanical, mental, or physical. A mechanical
error is due to the failure on the part of the machine
to respond in any way, such as piling, crowding, skipping,
breaking, etc. A mental error is a failure on the part
of the typist to read copy correctly, a repetition, an omis-
sion, or the improper division of a word at the end of a
line. A physical error is a misstruck key, failure to return
carriage to zero to begin the line, misuse of shift key, incor-
rect spacing (either physical or mechanical), etc.

The World's Championship Cup was competed for the
first time in Madison Square Garden, New York, October 17,
1907, and was won by Miss Rose L. Fritz at the rate of
87 net words a minute; Mr. H. O. Blaisdell, second,
writing 83 words a minute, both using the Underwood;
Emil Trefzger, third, using the Remington.

In 1908, October 22, at Madison Square Garden, New
York, this International Trophy was competed for the
second time and again won by Miss Fritz at 87 net words
a minute, using the Underwood.

In 1909, September 30, at Madison Square Garden,
New York, Miss Fritz, using the Underwood, won the cup
for the third time at the rate of 95 net words a minute.

In consequence of Miss Fritz having won the World's
Championship Trophy three successive times, and about
thirty other championship medals and prizes, her services
were in such demand all over the world that she had to aban-
don contest work for the purpose of giving exhibitions,
which she did, not only in the United States and Canada, but
all over Europe. Miss Fritz was the first to demonstrate
the infinite superiority of touch typewriting over the old
sight, "hit and miss" method, and her pioneer work in the
practical development of typewriting cannot be over-esti-
mated.

In 19 io, October 2j, at Madison Square Garden, New
York, this World's Championship Trophy was won by Mr.
H. O. Blaisdell, using the Underwood, at the rate of 109
net words a minute.

In 191 1, October 26, at Madison Square Garden, New
York, Mr. H. O. Blaisdell again won the contest for the
World's Trophy at the rate of 112 net words a minute,
using the Underwood.

In 1912, November 12, at the 69th Regiment Armory,
New York, the World's Typewriting Championship Trophy
was won by Miss Florence E. Wilson, using the
Underwood, at the rate of 117 net words a minute; Emil
A. Trefzger, who had joined the Underwood forces, sec-
ond, with 116; H. O. Blaisdell, also using the
Underwood, 115.

In 19 1 3, October 21, at the 69th Regiment Armory,
New York, the World's Typewriting Trophy was won
by Miss Margaret B. Owen, using the Underwood, at the
rate of 125 net words a minute. The second, third, fourth,
and fifth positions were held by typists using the
Underwood.

In 1914, October 26, at the 69th Regiment Armory,

Miss ROSE L FRITZ

riRST WINNER OF THE INTERNATIONAL TYPEWRITING TROPHY
WHICH SHE WON IN 1907. I90B ANO 1909.

New York, the World's Typewriting Championship and
Trophy were won by Mr. E. A. Trefzger, using the
Underwood, at the rate of 129 net words a minute, with the
next four positions held by the Underwood, the sixth posi-
tion going to the Remington.

In 191 5, October 25, at the 69th Regiment Armory,
New York, Miss Margaret B. Owen, using the Underwood,
again won the World's Championship Trophy at the phe-
nomenal rate of 136 net words a minute with only 42 errors.

In 1916, October 16, Miss Margaret B. Owen, using
the Underwood, again won the World's Championship
Trophy, breaking her previous record by writing 137 net
words a minute. A photographic reproduction of a part of
Miss Owen's work in this contest appears on the following
page.

In 191 7, October 15, at the 69th Regiment Armory, Miss
Margaret B. Owen, using the Underwood typewriter, won
the World's Championship for the fourth time at an in-
creased net rate of speed, breaking all previous records,
writing 143 net words a minute. This demonstrates that
Miss Owen is today the undisputed World's Champion
Typist.

Miss Owen appreciates the value of accuracy, and her
records have been made because of the fact that she does
not sacrifice accuracy for speed. She knows that a busi-
ness letter that is written at a very high rate of speed,
filled with errors, will be returned because the business
man, in attaching his signature to a letter containing
errors, assumes all responsibility for such errors.

In this contest Miss Owen wrote two full pages with
but two errors, one on each page, copy of one of which is
shown on page 93. This copy is reduced to fit the page of
this book.

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Miss MARGARET B. OWEN

WORLD'S CHAMPION TYPIST

PRESENT HOLDER OF THE INTERNATIONAL TROPHY
WHICH SHE WON IN 1913, 1915, 1918, 1917.

PRESENT RECORD 143 NET WORDS A MINUTE.

state so far as i have known hira, his voice is like that which you would
imagino might ccmo from the bottom of Hades when the lid is off and there
is a row going on down thera. All these talents, as you 77111 see, place
him in a class by himself ajd. he is the very last word so far as cats go.

It was a thing like that which raised the hair on the back of Ruin and
which lay on the limb of that big pine Just ahead of us. Had we gone on
our way and taken no notice of him I doubt if we should have hi erd any-
thing from him for he was wise enough to know that while he might damage
U3 in a rough and tumble fight yet in the long run the two of us would
be too many for him. But wo did not go on for Ruin and I were of one
mind, we would have a round with that bobcat let what would come of it.
It wa3 the open season for game and as a rule I carried a gun with me and
had fairly good success with it but I had not taken it that morning as
we had planned a final hunt for the afternoon and wanted to finish our
«ork and get back to camp as soon as we could do so. I looked about
for a stick or stone but could find none and so I walked on a few steps
at a time and Ruin did the same, always with one eye on me and the other
on the cat, until we got to within forty feet of the pine. Ruin was no
coward and I knew that he wanted to come to hand grip3 with the cat but
I also knew that at best the dog would bo torn more or less to tatters
and I did not want that for he was ragged enough as he was without any
additions* »'e crept on, our feet making no noise on the soft carpet of
pine needles and the only sound that broke the stillness was a soft hiss
from the cat or a low growl from Ruin. When we reached a point about
thirty feet from the tree the cat no doubt thought of the maxim I have
quoted, for giving vent to one last spit he jumped free and clear twenty
feet from his roost and was off in long leaps as fast as hi3 legs would
carry him, with Ruin close behind him and filling the air with hi3 short
yelps.

I went back and got my transit and then made my way to where the boys
had driven the last stake in our survey; it was at the highest point on
the mountain and as we got our tools together we could hear Ruin on the
track of the cat as the latter tried to throw the dog off tho scent by
running around the hill. We hid our stuff under a bush for we could
oome back and got it later, whereas the cat must be looked after at one©
if we wished to look after it at all, and we wanted to be on the. job if
Ruin should catch up with the beast for we knew tho dog would tackle an
elephant when he got his mad up and we also had soma idea of the kind of

4>SC

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No mention thus far has been made of the Amateur
Championship, which differs from the Professional only in
point of time, the Amateur being for one-half hour and
the Professional for one hour ; both, however, being written
from the same copy at the same time.

Mr. George L. Hossfeld, winner of the Amateur
Championship contest in 191 7, established a record which
justifies mention, because it proves the possibilities of the
typewriter. Mr. Hossfeld, using the Underwood type-
writer, wrote 145 net words a minute for thirty minutes.
This means after five words had been deducted for every
error. In winning this championship Mr. Hossfeld wrote
at the rate of 152 words a minute, one page of which is
without error. In other words, for over four minutes he
wrote at the rate of 152 words a minute, perfect, which is
the highest record ever made in open competition even
for one minute only. The reproduction of Mr. Hossfeld's
work, bearing the signature of approval of Mr. J. N.
Kimball, Contest Manager, appears on page 95.

Thus for eleven consecutive years, typists using the
Underwood have won and held the World's International
Trophy, purchased by all the typewriter companies and of-
fered under the auspices of Office Appliances. The rate of
speed attained in these contests has been nothing short of
phenomenal. Exclusive of the return of the carriage, which
was more than five hundred times, not including the
shift key for capitals and other upper case characters,
and not considering the insertion of sixteen sheets of
paper, and turning twenty-five sheets of copy, the typists
have written at the rate of more than eleven strokes per
second for three thousand six hundred consecutive seconds.

Emil A. Trefzger, winner of the first endurance con-
test held in Chicago, March 20, 1905, writing 90 minutes
from copy and 90 minutes from dictation at the rate of
62 net words a minute (only one word being deducted
for every four errors), used the Remington typewriter.

to blows If It had not been that at meal time me oould let off steam by
finding fault with tho oook. How grouohy we might all have become is a
matter for conjeotura but for one saving grace, the dumb friend of man
which is ever at his elbow, or to speak by the card which Is ever la
his pocket--whioh soothes him In hours of pain and calms him in times
of anger, and more than all, being often in his mouth shuts off impious
co mment--his pipe. I do not know how many of you have what our fore-
fathers were wont to call the filthy habit of using tobaooo, but I do
know that suoh of you as have that habit will be of one mind with mo when
I say that there ere many things in this old world of ours whloh I would
be. willing to dispense with before I would part with that bit of briar
wood and its amber stem. Of course during the two days I speak of we
had eaten, and we lingered at the table Just as long as possible to pass
eway the time, but three meals a day were all that were allowed ub by
the rules and if we had tried to break those rules the cook would have
resigned snd left us to starve; but there was no rule as to our pipes
and that wo made the best use of them you may be sure. And all the time
It rained cats and dogs as the scylng Is, and as I think It must have
rained when Hoah first snut the door of the ark and m&de things snug
and trim for his voyage, and now at the end of the second day, the supper
dishes having boen taken from the table and washed by Dan whose turn it
was at the time, each of U3 sat with his pipe in his mouth and puffe<?
away as If for dear life. It was early in September and the weather was?
not cold but the blaze of the open fire felt good and gave an air of cheer
to the room as night came on. .Then it was fine outside we used to group
atout the door at night and after we had made our plana for the next day ^3
we would sing' and spin yarn3 and watch the stars as they oame from their
hiding places in the sky, or listen to the oall of some night bird in
the depth of the wood; but after two days In jail one does not care to
plan for the morrow and has no mind to sing unless It be a dirge, and
aa for story telling, at suoh a time one oould not tell the truth if he ~ ,
tried — and so we sat there each of us as dumb as an oyster and as silent
as a olam. <Vhen the fire got low one of the boys, we oalled him vjasN

"Beef" bee-use of his size, was eleoted to go out and bring in an arm full
of wood from the pile which we kept dry in the eh6d and when he cane back
end sat down in a chair the water ran off him and insde pools on the floor
in which Dick proposed that we go fishing, t"Ut the Joko, if it wa3
one, foil flat.

«.

Mr. Trefzger continued to use this machine until the
year 1908, when he began using the Underwood. The
following year, operating the Underwood, he competed
in London for the English Championship, and won the
contest regardless of the unusual conditions imposed, which
consisted in copying twenty minutes from printed matter,
writing from dictation for twenty minutes, and copying
from pen-written lithographed manuscript for fifteen
minutes.

In addition to winning this contest and cup in 1909,
Mr. Trefzger returned and won it under similar condi-
tions in 1910, and again in 1912, there being no contest
held in 191 1. The terms of the contest were that the cup
became the personal property of the contestant who won
three consecutive contests. A sample of the manuscript
from which Mr. Trefzger copied is given on page 97;
It was required that all abbreviations be translated and
written in full. A fac-simile reproduction of a paragraph of
printed matter copied by Mr. Trefzger, follows:

The Commissioners were Lord Balfour of
Burleigh (Chairman) and Sir John Dickson
Poynder (now Lord Islington and Governor of
New Zealand), representing Great Britain, (he
Hon. W. S. Fielding and the Hon. William
Paterson, for Canada, and Sir Daniel Morris,
as representing the West Indian Colonies. In
a letter of instructions addressed to the
Commissioners by the Earl of Crewe (Colonial
Secretary) it is laid down that the term British
West Indies includes " Bermuda, the Bahamas,
and British Honduras, in addition to the British
West Indian Islands, as usually so-called, and
British Guiana " ; and the Commissioners are
informed that "His Majesty's Government
have undertaken that in any arrangement
which may be arrived at between Canada and
the West Indies due regard will be had to the
interests of Newfoundland."

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REMINGTON NO. 10

The first practical typewriter was known as the Rem-
ington. This machine was introduced to a critical public
nearly a half century ago. The name Remington, there-
fore, is recognized as the pioneer in the typewriter world,
and great credit is due it for the educational work it
accomplished in converting the public from criticism to
appreciation of the value of the typewriter. The success
of the Remington typewriter, the evolution of which was
stimulated by various imitators, was so marked that its
manufacturers were loath to abandon the understroke prin-
ciple of the blind writer.

For many years the Remington enjoyed the distinc-
tion of being the best typewriter, not only because it was
the first, but because it actually led in all essential re-
quirements possible in the manufacture of the blind type-
writer. After the public had become educated to the value
of the typewriter, however, many users of the machine
saw possibilities of improvements and suggested many,
principal among which was visible writing. Although
numerous suggestions were adopted, that of visible writing
was deemed impractical from the manufacturers' stand-
point, because it required so many changes in the forma-
tion of the machine; in fact, a complete remodeling.

The desire of the typist for visible writing, however,
finally developed into an actual demand, to which the
Underwood and other machines had already responded. The
success of the visible writer was so marked and the confirma-
tion by public opinion so pronounced that the Remington
typewriter was finally compelled to surrender, and reluct-
antly accept and advocate the principle it had so strenu-
ously opposed for so many years.

100

The name "Remington" in the typewriter world had
become famous, and the anticipation following the an-
nouncement of a "visible writing Remington" was the
cause of much speculation. But the Remington Company
had opposed the demand of typists and the business public
too long, and as a result, when they were compelled to
accede to the demand for a visible writer they found that
the most practical features required in such construction
had already been employed, and their effort to evade in-
fringement necessarily complicated their machine.

After the Remington had "seen the light," and the
transformation had taken place, there was little left by
which it could be identified except the name-plate. The
typebar combination, instead of being simplified was more
complicated, employing about double the number of parts,
and the frictional points increased from three to five. Steel
finger key levers were substituted for the wooden levers
of which they had made such a strong feature in their
blind writers. The power was no longer transmitted
direct from the finger key lever through a single connect-
ing link to the typebar, but through a connecting link to
a bell-crank, thence through another connecting link to the
typebar. This increased lost motion, and resulted in less
speed in the return of the typebar, to overcome which, in
fast writing, it was necessary to employ a part known as
the "repulser."

As has been stated before, it is not the purpose of
these steps to point out defects or deficiencies in any type-
writer, but rather to direct attention to all important fea-
ures that mark an advance in the evolution of the type-
writer. Inasmuch, however, as the Remington Typewriter
Company claim a "new self-starting Remington," it may
be interesting to the reader to know the truth concerning
this. In the first place, they have built no new model
since 1908. They have simply recognized and tried to cor-

101

rect mistakes in their original visible model. The "self-
starter" is not a new feature, as it was embodied in the
first No. 10 Remington typewriter in 1908, but it was then
called the "column selector."

REMINGTON No. 10

It is true, the No. 10 Remington has been improved
since it was first submitted to the public. For example:
Their first machine had the double wheel escapement with
a single loose dog. This was soon found to be imprac-
tical, and they returned to the time tested principle of the
single wheel and two dogs. Both dogs, however, are
loose. They also made many other alterations, among
which was the change in name of "column selector" to
"self-starter." This term, popularized by the automobile
industry, was appropriated by the Remington simply as a
catch phrase. The machine does not have a self-starter;
it starts the same as all machines — by a touch of the finger —
and the feature to which they give the name "self-starter"
is in fact a self-stopper, but this name being literal is too

102

significant. It matters not, however, whether it be a
column selector, self-starter, or self-stopper, it embodied
the principle of the Gathright Tabulator patents which
were owned and controlled by the Underwood, and could
only be used by other machines on payment of a royalty
to the Underwood until the patents expired. (See tabulators.)

The transformation of the Remington from a blind to
a visible writer definitely and conclusively confirmed all
the claims of the Underwood, which not only served to
establish the latter machine more firmly in the estimation
of the public, but to acknowledge its leadership in the
typewriter world.

SMITH PREMIER NO. 10

The federal laws restricting trusts and other combi-
nations apparently made it necessary for the Union Type-
writer Company to claim its own, and sell its products
from one general headquarters, and not from different
points apparently in competition with each other. The
Remington, the Smith Premier, and the Monarch were
therefore brought together, and the Smith Premier of
necessity was also transformed into a visible writer.

The first model of the Smith Premier Visible was, as
all first models are, very crude, and some vital changes
were necessary, one of which was the so-called "target,"
which actuated the escapement. In other words, the uni
versal bar was brought up to the type end of the typebar.
Theoretically, this was good, but practically it was not a
success, and as a result it became necessary to change the
position of the universal bar.

The Smith Premier as a blind machine had doubtless the
best method of cleaning the type, but the visible Smith
Premier has possibly the most difficult method of cleaning the
type — they are hard to get at with the brush; besides, there

103

are two sets. The ribbon is very difficult to place in position.
The machine, however, recognizes and emphasizes the value
of visible writine.

»5'

The No. 10 Smith Premier has no special advantages
over the old blind model except the visible feature which
the evolution of the typewriter forced it to adopt. It still
has the double keyboard, which compels a change in the
bearings to accommodate them to the reduced space on a
front stroke machine. It now has ball-bearing typebars,
and being a Remington product, this places the company in
a position that is quite inconsistent, that of advocating
three different styles of machine — the Remington, with
pivotal typebar bearings, a single keyboard, and carriage
shift for capitals; the Smith Premier with ball-bearing
typebars and a double keyboard (a key for each char-
acter) ; and the Monarch with a single keyboard and bas-
ket shift for capitals.

SMITH PREMIER No. 10

To further accommodate the typebars of the Smith
Premier to the space allotted them, it is necessary to make
them in two lengths, the short bars being hung three-
quarters of an inch above the lower or long bars. In

104

order to equalize the touch and impression, the type on
the short bars should be made heavier. This is not the
case, however. The power necessary to operate the type-
bar embodies the same principle as that of "horse power,"
the universal term used in mechanics, which includes force,
distance, and time. To equalize the time, which is the
most essential, the leverage in the two sets of bars must
differ, which affects the touch, or power, and speed ac-
cording to the principle involved in "horse power."

The Smith Premier is no longer popular among the
best typists principally because of its double keyboard,
which is an objectionable feature for touch typewriting, the
method almost universally taught in schools at the present
time. It is only the older and slower operators who use
the sight method in typewriting, and to these the evo-
lution of the typewriter would not appeal.

YOST MODEL A (Visible)

The Yost typewriter, being a member of the Union
Typewriter family, immediately followed suit in changing

YOST MODEL A

105

its blind machine to a visible writer. The result of their
effort to retain some of the features which the Yost had
employed in the blind writer is really interesting, not on
account of its efficiency, but as an example of mechanical
possibilities. The typebar combination requires fourteen
separate active parts. The inventor must indeed have had
a wonderful mind to solve a problem involving such mar-
velous intricacy. (See diagram, page 140.) There are ten
frictional points in this typebar combination, which is one
of the most complicated of any machine.

The blind Yost typewriter was a pad machine, and
this feature is retained in the visible. In order to do this
it is necessary for the type to lie face down on the pad
directly beneath the writing line, exposed to all the erasure
and office dust. To lift the type from the inking pad, or
position of rest, to the point of contact with the paper,
where the impression is made, four definite and distinct
movements are necessary. The type are lifted up, back,
up, and forward to the printing point. The typebar itself,
as may be seen, is composed of three parts, one of which holds
the type, and another serves both as a lever and a hammer to
lift the part holding the type and to strike it in the back to
make the impression. On account of the position of the type
lying face downward, it is extremely difficult to clean them.

It would be difficult to even attempt to describe the
complexity of this typebar construction, or anv other fea-
tures of the machine, except that it changed from a blind
to a visible writer, and from a double to a single key-
board. Suffice it to say that the machine marks no step
in the evolution of the typewriter, hence it could not find
a market in the United States, and practically the entire
product is consumed abroad.

ROYAL

The Royal typewriter is a machine with a checkered
career. Its first appearance on the market was in 1906,

106

and it was current comment at that time that the machine
was designed and built for the purpose of forcing a fur-
ther combination of typewriters, which the Underwood
had practically succeeded in breaking up. It was not suc-
cessful, however. It did not possess sufficient merit at
that time to attract public attention to the extent that it
would disturb other manufacturers.

Two models were built, one known as the Royal
Grand, and the other the Royal Standard. The former
sold for one hundred dollars, or at least it was so listed,
but for reasons best known to the manufacturer it was
soon withdrawn from the market. The latter, however,
was continued at a list price of sixty-five dollars.

ROYAL STANDARD

The company adopted a very suggestive slogan, "You
can pay more, but you can't buy more." The price and
the aggressiveness of the company attracted some little
attention. It was found, however, that a typewriter of
quality could not be made and sold at a price less than
one hundred dollars without loss to the manufacturer.
The result was, the company built another model, No. 5,
in which were incorporated the back-spacer, the tabulator,
and the bichrome ribbon, and increased the price to sev-

107

enty-five dollars. These added features already being in
use on all the older machines served to discredit their
slogan. Still this machine did not measure up to the re-
quirements of either the typist or the business man, and
another change became necessary.

This time the machine was changed in form, model,
and price. It was built higher to conform, as they said,
"to generally accepted appearance in typewriter construc-
tion, and would be sold at the standard price of one hundred
dollars." They called this the No. 10 model, but aside from
the change in form, practically the only improvement was the
automatic reverse of the ribbon. The manufacturers found
that changing the form of the machine and raising the
price did not conform with their slogan. This had served
an excellent purpose in the sale of the machine at sixty-
five dollars, but it became retroactive with the change,
which may account for the many reports that the com-
pany is unable to secure list price. In introducing the
Royal Typewriter No. 10, through Office Appliances in the
June issue of 1914, the company says:

'The introduction of the first model of the Royal
Typewriter was attended by the discouragement which
always follows the production of any machine, for any
purpose, which does not conform in appearance with that
which the public is familiar."

"The public, once used to a certain form, gives slight
response at first to the suggestion of change. . . . But
the public, although slow in response to change, does
always in good time accept what was once considered an
innovation, provided it have merit."

"When the typewriter which first put writing in sight
of the operator was introduced," (the Underwood) "and
which machine was essentially different from older models,
the public was not so sure it wanted a machine that
differed in construction from the kind to which it had been

108

accustomed. The machine did not look like those with
which the public was acquainted. But presently the public
would have no machine that did not embody the principle
of the writing in sight of the operator."

"The first model of the Royal resembled no other
typewriter. It did not conform to the generally accepted
lines of typewriter construction, and the manufacturers
had to be content with the psychological disadvantage."

From this statement it would appear that the No. 10
Royal was introduced principally for the purpose of "con-

ROYAL No. 10

forming with the appearance of other typewriters," and
of enabling them to sell it "at the standard price of one
hundred dollars." The No. i and No. 2 Royal Standards
gave way to the No. 5 with an advance of ten dollars in
price. The No. 5 was succeeded by the No. 10 with an
advance of twenty-five dollars, catalog price. The No. 10
begins with the serial number where the No. 5 left off,
and the No. 5 where the No. 2 was discontinued.

While the outward conformation of the machine re-
sembled the Underwood, and other visible writers that
had preceded it. its interior or vital working parts did not
conform with those of any other machine. The typebar
combination, as shown by diagram, page 136, is composed

109

of eight parts. The link or links connecting the finger
key lever with the typebar proper has five parts, consisting
of a series of bent wires. The back wire, the one that
operates the universal bar, is encased in a spiral spring
hooked into the frame at one end and a section of the
links at the other. This is for the purpose of assisting in
taking up lost motion.

The fragile mechanism of the machine is encased in
plate glass. This, it is claimed, is for the purpose of
keeping the dust out, but the real reason, it is believed,
is to prevent the typist's cleaning brush and the inspection
of the exacting buyer from getting at the frangible con-
struction.

NOISELESS

The Noiseless typewriter is a machine that deserves
mention. Of course, it is a visible machine, and it is
really noiseless. But while this noiseless feature is appre-
ciated in some offices, to secure it numerous sacrifices of
other important features are necessary, which makes it
undesirable in the great majority of busy business orifices.

The type are arranged in a fan-like formation, three
characters on each bar, and by means of an actuating arm
are "pushed" horizontally from their position of rest a
distance of about two inches to the printing point, and
when they reach the printing point the force that impels
them has been expended. There is a steel bar that ex-
tends along between the cylinder and the printing line
on the paper to give a solid printing surface.

The typebars in their forward movement slide into a
guide that is not adjustable, and the surface over which
they slide is not only exposed to dust, but they have five fric-
tional points which cause the sluggish return of the bars.
The return of these bars on the new machine is caused

110

by a tension spring and a balancing weight. These must
be evenly and accurately adjusted because the least ten-
sional friction greatly retards the return of the bars.

In front of the machine there is a dial graduated
from o to 1 6. On this dial there is an indicator which,
when set at o, is intended to adjust the position of the
cylinder for writing on one sheet of paper. As the dial
is advanced, the cylinder is forced back. This is supposed
to provide for a number of sheets of carbon and to give
the same pressure on each sheet from one to sixteen; but
it does not, for the reason that the number of sheets serve
as a cushion which prevents the final pressure and nullifies
the purpose of the steel bar. This adjustment, however,
prevents battering the face of the type against the steel
bar back of the printing point. Because of the impression
being made by a push rather than a blow, the effect is not
good. A quick, sharp blow of a few ounces will produce
a better carbon copy than the pressure of several pounds.

It would be difficult indeed to describe or define the
typebar and its action of the Noiseless typewriter, but the
reader can perhaps draw his own conclusions by referring
to the diagram of the typebar on page 138. It should
be remembered also that the construction of the typebar
is the all-important feature of all typewriters.

The marginal stops and the tabular stops are both on
the same rack in the back, and they are very inconven-
iently set. It is necessary to adjust them according to
a graduated scale on the paper shelf, which agrees with
the scale on the cylinder. These stops being on the same
rack interfere with the adjustment of each other. It is
often necessary to move both to adjust one.

The keyboard is not universal from the fact that it
has two shift keys, one for capitals, and the other for the
numerals and many of the special characters. This will
always make the machine unpopular with touch typists.

Ill

The machine is very much heavier than other machines as
the result of the thick casting- of which the frame is com-
posed for the purpose of reducing the noise.

The efforts of the manufacturers of the Noiseless
machine are commendable, but the results will not meet
the requirements of the modern business office. It is the
author's contention that whatever the mind conceives the
hand can execute. In other words, the conception of the
mind is a prophecy of the possibility of its accomplish-
ment. However, as with the typewriter itself, it often
takes a long time for the realization of a prophecy. The
mental conception of the typewriter, formulated more than
two centuries ago, was in the process of evolution one
hundred and fifty years before the first practical type-
writer was built, and then only in a very crude form.
Therefore, the noiseless machine may in time develop into

NOISELESS

a practical typewriter, but as it is today it has many diffi-
culties to overcome, before it will meet the requirements
of the exacting business public.

112

VICTOR

Supplementing the efforts of the Underwood in its
early days to educate the business world to the value of
visible writing-, several machines were built along similar
lines, and each served its purpose by confirming the front
stroke visible principle made popular by the Underwood.
Some of these machines that should be mentioned are the
Secor, the Stearns, the Fox Visible, and in fact all ma-
chines that were built embodying the principle of the front
stroke visible writer.

Among this number is also the Victor. The strong
claim of the manufacturers of this machine is the wide
pivotal typebar bearings, and in this respect the individual
pivotal bearing for each typebar is wider than the bearing
of any other machine with similar bearings, but it does
not have any other feature that would especially recom-
mend it. In fact, its ribbon control is crude, and is in
the way oi the typist. There is nothing to prevent the
face of one type from striking against the back of another,
which at times cannot be avoided even by the most skilled
typist. The breaking or battering of the type causes irreg-
ular, imperfect impressions, and spoils the appearance of
the work. This defect was provided against in the earliest
model of the Underwood, but its value has only recently
been confirmed by such machines as the Remington, L. C.
Smith. Royal, and others.

CORONA

The purpose of this machine primarily, and it might
be said finally, is portability. It is the outgrowth of the
Folding Typewriter; in fact, it is a folding typewriter —
the carriage and upper framework folding down over the
keyboard when not in use. thus making a compact form
for carrying.

113

The machine has a double shift, that is, one shift for
capitals, and the other for figures and special characters.
It is attractive, and does good work to the limit of its
capacity, but its capacity is quite limited as compared with
machines that are designed and built for heavy, fast office
work. For the purpose, however, that it is intended, it
meets the requirements quite satisfactorily. It advanced
no new ideas other than the folding feature, which is
essential for convenience in carrying, and to accomplish
this it is necessary to sacrifice other features common on
better machines.

EMPIRE

This is a machine of numerous names. It is manu-
factured in Montreal, Canada, where it is known as the
Empire; in the United States, the Wellington; and in
Europe, where it is made under license to a Mr. Adler,
it bears his name. This machine is not mentioned as a
step in the evolution of the typewriter because it pos-
sesses no new ideas that are especially commendable, but it
has some considerable following in Canada and Europe,
hence the consideration.

The typebar construction of the Empire-Wellington-
Adler is peculiar and quite complicated. The typebars rest
on a flat surface and are pushed forward to the printing
point, a distance of about two inches, into a guide, where
the type are held securely. It is claimed for this machine
that it has a universal keyboard. This is not true, however,
The recognized universal keyboard has a single shift, or
at least two shifts, one on each side, that may be operated
by either hand, but the function of both is the same, and
it is not necessary to shift for figures or many of the
special characters. In other words, in using all of the
characters on the standard universal keyboard it is neces-
sary to use the shift key just half as many times as would

114

be required in using all of the characters on the Empire-
Wellington-Adler. It is claimed that the typebars do not
move as far as on most other machines. This is true, but
it is also true that they do not move nearly so fast be-
cause of the friction on the surface upon which the type-
bars rest and move, and the lack of gravitation.

It is evident that the typebar of the Empire suggested
the typebar construction embodied in the Noiseless.

EDISON

The Edison typewriter was designed expressly by the
manufacturers of the Edison Mimeograph, A. B. Dick
Company, for the purpose of providing a machine that
would cut a good stencil, and sell for less than one hundred
dollars. This was an aspersion on other typewriters, espe-
cially when this company tried to enter the regular type-
writer field. The machine did not possess quality, and
although cheap it was expensive for the owner because
it did no better stencil work than other machines, and was
not equal to the requirements of general office work.
Almost all machines of the day in which it was manu-
factured would cut a stencil quite as good as the Edison,
and as a result it was soon discontinued. The fact that
they tried to enter the regular typewriter field served to
encourage mimeograph competition by typewriter compa-
nies who were building machines that would cut satisfac-
tory stencil copies.

The Underwood Typewriter Company brought out the
Underwood Revolving Duplicator with a full line of sup-
plies and specially prepared stencil paper of the highest
quality. This work is so important that digression is par-
donable— few typists understand how to cut a stencil prop-
erly— they are too apt to give a heavy, hesitating blow
when a quick, snappy, even stroke is required.

115

FOREIGN TYPEWRITERS

It is a strange fact that all of the best typewriters
that have been produced have been built in America, and
American machines find a better market in Europe and
other countries than machines built elsewhere.

The style of construction of foreign machines does
not fulfill the requirements of the most exacting users.
They are all visible writers, of course, of the front stroke
principle, but they seem to lack the refinement? of the
American made machine.

As this book is intended solely to record the steps in
the evolution of the typewriter, the whole foreign product,
of which the great majority is manufactured in Germany,
may be treated under one head. There is no foreign
machine entitled to recognition in this book as a step in the
development of typewriters, and they are given consider-
ation only as a matter of historical reference, as well as
to confirm the front stroke visible principle introduced
by the Underwood, which brought about the revolution
in the style of typewriter construction, and their imper-
fections only serve to emphasize the superiority of the
American typewriters.

This statement is confirmed by the fact that an edict
was issued by the German Government prohibiting any
branch of the Government from purchasing typewriters
that were not made in Germany. This was necessary be-
cause the German product was lacking in quality and was
not appreciated.

CONTINENTAL— The Continental typewriter is a
German product, and is perhaps one of the most promi-
nent foreign built machines, but it is crude in comparison

116

with the highly developed American machines. It contains
absolutely no feature that is commendable by comparison
with the machines already mentioned in this book.

IDEAL — The Ideal, it is said, is an American inven-
tion, but if this be true, it only proves the facts before
stated with reference to the superiority of the American
typewriters. It is made in Germany, for the reason that
it could not find a market in the United States.

KANZLER — The Kanzler is manufactured in Berlin.
This machine has eight characters arranged on each type-
bar. However, the keyboard would seem to be larger than
the regular standard keyboard. The machine has never
made any impression either in its own country or else-
where.

STOEWER — The Stoewer is also a German machine,
and other writers say that it ''more strongly resembles
the Underwood than any other." It is true that all ma-
chines have tried to "resemble the Underwood," but the
Stoewer machine has fallen very short in its effort. This
machine was placed upon the English market as the Swift,
and while few changes were made they were all more in
imitation of the Underwood than the Stoewer proper.

TORPEDO — The Torpedo, another German machine,
has undergone several changes in its formation since it
was first introduced. This machine is also built in imi-
tation of the Underwood, although it has a right-hand
reverse located very awkwardly. Nevertheless, it con-
firms the basic front stroke visible principle.

MERCEDES — The Mercedes typewriter is another
German product, but it differs so little from the machines
already mentioned that it is really quite unnecessary to
make any comment concerning it. Of course, it employs
the front stroke principle, as all machines built today do.
A feature is claimed for this machine which is an old
neglected idea first used on the Daugherty, that of inter-

117

changing the type by loosening a few screws, and re-
moving the entire typebar mechanism and substituting an-
other. This is impractical, however, because the change
of type is not of sufficient importance to justify the ex-
pense and trouble.

TRIUMPH — The Triumph, another German machine,
is quite on a par with those already mentioned, although
to speak frankly, as is the aim of this book, it is doubtless
the best one of the entire German product. None of these
machines contains a single feature that has not already
been incorporated in some one of the many American
machines, but they have copied in a crude manner more
closely the Underwood ideas, evidently recognizing its
superior principle of construction.

Cuts of the foregoing typewriters would convey no
information, as they all have the same general appear-
ance and differ in no essential features from the cuts
shown of the American made machines. However, the
reader's attention is directed to the diagrams of the type-
bars in the back of the book, which show how closely they
have tried to imitate the Underwood typebar action.

MASKELYNE — During the long personal experience
of the author in the actual sale of the typewriter, he has
been asked many times why manufacturers did not provide
a means for differential spacing; that is, the regulation
of the space between the characters. As typewriters are
built today, it requires as much space for the "i," "1," and
other letters of similar width as it does for the "m" and
"w," and where a wide type character is doubled or comes
together, followed or preceded by a narrow faced type,
the spacing seems quite irregular. This principle in type-
writer construction has not been overlooked. Various at-

118

tempts have been made to secure this feature, as manu-
facturers recognize that the work would have a better ap-
pearance if spacing could be made to suit the individual
character without sacrificing other and more important
advantages.

The most worthy effort in this direction was that
made by the manufacturers of the Maskelyne typewriter.
It provided for different spacings, one for a character
similar to "i;" another for "e" and similar width; another
for V and "\v;"and still another for diphthongs. This
construction necessarily affected the touch of the keys, and
the action of the carriage.

In careful writing, with a desire to favor this feature
of the machine, the work was satisfactory, but in fast
writing the mechanism that produced this result became
negligible or inoperative, and as the disadvantage was far
greater than the advantage, which consisted chiefly in the
appearance of the work, the idea was abandoned and the
manufacture of the machine discontinued.

119

TABULATORS

The typewriter, for typewriting in its simplest form,
having been thoroughly established, inventors were making
every effort possible to improve the machine and develop
its practicability. For example: The earlier typewriters
were not practical for doing statement or form work; it
was necessary to strike the space bar for each intervening
space between various positions of writing on the same
line, then lift the carriage and compare scales. This was
very necessary, and work of this character could not be
done with any degree of facility and accuracy.

Many attempts of various kinds and classes were made
to produce a tabulating device that would be practical,
but among the many only two are entitled to recognition,
all others embodying practically the same principle. These
are the Gathright and Gorin, the latter being an infringement
on the former.

GATHRIGHT— On January 15, 1889, Joseph B.
Gathright, of Louisville, Kentucky, filed application and
secured patent (No. 436916), September 23, 1890, for a tabu-
lating device. The use of this invention permitted the car-
riage to move forward from one position to any other desired
position, skipping the regular spacing controlled by the rack,
and indicated by the scale on the machine.

This device made it possible to do billing and other
statement or form work easily and accurately b\ mechan-
ically skipping spaces desired to be left blank. This was
accomplished by touching a key that released the dogs
from the rack and permitted the carriage to pass to a
fixed position, where its course was arrested by a stop.
The number of columns was limited only by the number of
engaging stops.

120

For reasons unknown, this patent was not used by
any of the typewriters manufactured at that time. Its
value, however, was immediately appreciated by those re-
sponsible for the development of the Underwood, who
secured control of the Gathright patents and embodied
them in the construction of the earliest Underwood ma-
chines. This invention increased the value of the type-
writer inestimably as it was the initial step to the many
uses in which the typewriter has been employed in the
various forms of billing, bookkeeping, statement work, etc.

GORIN— On January 3, 1895, F. P. Gorin, of
Chicago, Illinois, filed application for a patent on a tabu-
lating device, which was awarded him May 5, 1896, (No.
559449). This patent was assigned to the Remington Type-
writer Company and the device sold as an attachment to their
machine at a price of twenty dollars each above the list price
of the machine.

The Underwood typewriter, which was first produced
in practical form about the year 1896, entered suit for
infringement upon the Gathright patents, and after several
years of litigation, established through the courts their
claim of priority as sole owners of this device.

It will therefore be understood that all mechanical
spacing devices that permit the carriage to move forward
any number of spaces in excess of the single regular scale
space, used by all machines, whether they be called tabu-
lators, column selectors, self-starters, or any other name,
embody the principle contained in the Gathright patents,
which belonged to, and was a part of, the first Underwood.

121

TYPEBARS

In the anatomy of the typewriter the typebar con-
struction is the heart, and its action the pulse or power
that vitalizes the entire machine. The power is trans-
mitted through the touch of the finger key to the typebar,
which makes the impression on the paper, and causes the
escapement or forward movement of the carriage. To
illustrate: By removing a typebar from the Underwood,
then touching the finger key to which it was attached, it
will be found that the machine will not respond in any
particular. This is true with the Underwood only, as it is
the only machine from which a typebar can be removed and
replaced without loosening a screw or the necessity of re-
adjusting the alignment. Each typebar is numbered and
made to fit its position in the segment, and it fits it.

Geometry teaches that a straight line is the shortest
distance between two points. The two points in type-
writing are the touch and the impression — the cause and
the errect — the action and the result. It necessarily follows
that the best results accrue from the most direct "straight
line" action. This is accomplished by the elimination of
parts and the reduction of frictional points.

For the benefit of the reader diagrams have been
prepared showing the construction of the typebar com-
bination of the most prominent typewriters in use in recent
years, from which he can draw his own conclusions with
reference to the merit of the principle and construction.
These diagrams will be found commencing on page 133.

While the typebar has been termed the "heart of the
typewriter," there are other very important features that
must perform their proper functions in order that the best re-

122

suits may accrue. It is not the work performed by any indi-
vidual part, but the close direct co-operation of the many
parts that contributes to the best results in typewriting.

It would be impossible to definitely describe the differ-
ence in the typebars as shown in these diagrams. It will be
observed, however, that the Underwood, the first one shown,
has but three active parts — the finger key lever, the connect-
ing link, and the typebar proper. The principle embodied in
this construction not only contributes to the greatest speed,
accuracy, and durability, but conserves the energy of the
typist. It is the quickest typebar, not only because of the fact
that each individual finger key can be adjusted to suit the re-
quirements of each individual finger of each individual typist,
but because, at the instant the typebar reaches the printing
point where the impression is made, it comes in direct contact
with the universal bar, and the reaction of the latter causes
the immediate return of the typebar. This, too, is supple-
mented by the bevel on the rigid dog. which prevents the
slightest hesitancy in the reaction of the universal bar, which
in turn acts directly upon the typebar. The accelerated lever-
age for which provision is made by the cam in the heel of the
typebar, in which the connecting link works, increases the
momentum of the typebar as it approaches the printing point,
as shown on diagram, page 133.

The correct touch of an expert typist is a quick, sharp,
snappy blow, releasing the key before the typebar reaches the
printing point. This not only relieves the hand of the jar, but
it gives the machine a chance to do its work properly. The
carriage cannot go forward until the key is released.

As a concrete example: The winners of the World's
Championship Trophy have not always struck more keys
than contestants using other machines, but the simplicity,
direct action, elimination of friction and lost motion, both in
the typebars and escapement of the machines used by the

123

winners, have reduced the number of their errors to a mini-
mum. Hence, it will be seen that it is necessary to have a
machine that will respond to every effort of the typist in
order to produce the best results, not only in winning the
championship, but in all things for which the typewriter is
used. These facts will be appreciated by a careful study and
comparison of the diagrams of the typebars and escapements
in the back of the book.

It will be observed that many of the foreign machines
have not hesitated to imitate the style of construction of the
Underwood typebar even more than some of the domestic
machines, but the lack of harmony in the operation of the
numerous other active parts renders these machines even less
effective. Hence, it will be seen that the "heart" of the type-
writer, though most important, is not the only vital organ
necessary to the life and activity of the machine.

In the evolution of the typewriter inventors have de-
signed machines, which manufacturers have built/ with the
typebars striking the printing point from all directions.
From the present style of construction, however, it will
be noted that the front stroke principle has been almost
universally adopted by all the leading machines. The type-
bars lie in front and strike upward, a style first success-
fully used by the Underwood.

124

UNIVERSAL BARS

The universal bar is that part of the machine upon
which the power, resulting from the stroke of the finger
key, actuates the escapement, that permits the forward
movement of the carriage.

There are three means or methods by which the uni-
versal bar is operated. First, by direct action of the type-
bar, without division of power, through the stroke of the
finger key to the typewritten impression as shown by dia-
gram, page 145. The second method is by the action of
the connecting link against the universal bar, the power
resulting from the stroke of the finger key being divided
at that point of contact; one force operating the typebar,
the other the escapement ; hence a division of time in the
action of these two important parts is not unusual. See
diagram, page 146. The third and last style is the action
of the finger key lever on the universal bar. This re-
moves the power or cause farther from the effect, and
often results in "skipping" or "piling." See diagram,
page 146. By the last two methods it is possible for the
impression to be made without the escapement taking place
and vice versa. Study and compare these diagrams as
well as all diagrams relating to the typebars and links.

LINKS

The finger key lever receives the blow and the typebar
makes the impression, but there is a connection between
the finger key lever and the typebar, called the link. The
number of parts in this link-connection varies from one to
many, as is shown by diagrams of four machines on
pages 147 and 148.

125

It has been wisely said, and the theory universally
accepted, that "A chain is no stronger than its weakest
link." Through these links the touch or cause which pro-
duces the effect or impression is transmitted. The more
parts in the link connecting the finger key lever and the
typebar, the more the construction is complicated and the
number of frictional points increased. This indirect action
necessarily causes a loss of time and power.

It will be observed that the Underwood has but one
part or link connecting the finger key lever with the type-
bar, and as the typebar comes in direct contact with the
universal bar it more fully complies with the geometrical
definition of a "straight line" than any other typewriter
built. If you are interested in typewriter construction
study these diagrams closely.

KEYBOARDS

Today the arrangement of the twenty-six small letters
of the alphabet on the keyboards of all typewriters is
practically universal, but the remaining characters, which
are more than two-thirds, are arranged in three different
forms. More than ninety per cent, of all machines manu-
factured have a keyboard with a single shift for capitals,
or rather a shift key on each side of the keyboard, which
may be operated with either hand, both performing the
same function. The advent of touch typewriting has dem-
onstrated that this is the best style of keyboard. It is
simple, compact, and complete. Machines equipped with
this keyboard are universally used in the classrooms of all
high grade schools, the only exception being where a stu-
dent desires to be prepared for a certain position where
another style of keyboard is used. See diagram of uni-
versal keyboard, page 149.

The double keyboard has a character for each key.
This style is not popular with touch typists, from the

126

fact that it is necessary to change the position of the hand
when a capital is desired. Besides, thirty-three and one-
third per cent, of all the keys, including the numerals, are
operated with the little finger, as shown by figures 4 on
diagram page 149.

The third style of keyboard has three characters on
each key, which requires a double shift; one for capitals
and the other for numerals, punctuation marks, and special
characters. This keyboard is so arranged not because of
any advantage it gives the typist, but for the benefit of the
manufacturer, which enables him to accommodate the keys
to the limit of the typebar capacity as a result of the style
of construction of the machine. (See page 150.)

The diagrams of keyboards given in this book show
numbers above each key. This number indicates the finger
used on that key, and it refers to both hands. Number
one indicates the first finger of either hand, number two
the second finger, number three the third, and number
four the little finger. The space bar is operated by the
right thumb.

In the course of the evolution of the typewriter the
keyboard itself has undergone many changes. All kinds of
freak ideas have been advanced, one of which will be seen
in diagram, page 150. As long as opinions difTer, and cer-
tain styles of typewriter construction are continued, it will
be impossible to adopt a keyboard that will be uniform in
all respects. Besides, the frequent occurrence of certain
characters in other languages than English necessitates
certain changes in order to produce the best results.

The Universal Keyboard, as indicated in the first dia-
gram, will doubtless remain unchanged, not only from the
fact that millions of typists use it and would object to a
change, but all publications for the instruction of the stu-
dent of typewriting are based upon this style of keyboard,
which a change would materially affect.

127

SPECIAL MACHINES

The story of the evolution of the typewriter, so far as
it relates to correspondence and general office work, has
been told. But when the value of the typewriter as a gen-
eral office assistant became fully appreciated by typists and
business men, they began to cooperate with manufacturers
to enlarge the scope of its usefulness. Inventors responded
to this universal desire for the further development of the
typewriter, until today there is a machine built for every
purpose for which the pen was formerly used, except the
actual signature, which individualizes and establishes re-
sponsibility for the work.

For example: The Underwood provides a machine for
general accounting, such as ledger posting and statement
work, railroad waybilling, statistical and form work of
all kinds. In fact, it might truly be said that the great
future of the typewriter industry lies in this direction.

BOOKKEEPING MACHINE— The bookkeeping
machine enables the operator to make and prove daily all
records in bookkeeping and statement work, keeping the

UNDERWOOD BOOKKEEPING MACHINE

128

ledger and statement of accounts automatically balanced
to the minute. This eliminates the troubles common in
taking off the trial balance.

ADDENDAGRAPH— The Addendagraph is practi-
cally unlimited in its capacity for statistical work. Any

ADDENDAGRAPH

number of columns may be made to the full capacity of the
form used. This machine will give the total of each col-
umn vertically; of each line in all columns horizontally;
and will give a grand total which results in the proof of
the correctness of the work.

Other manufacturers have likewise appreciated the
desire on the part of the business world for using the
machine in a broader capacity than its original purpose,
and they too are building machines in various forms in an
effort to meet this desire.

AUTOMATIC WRITER— The Underwood also
builds an Automatic typewriter for circular work. This
machine will write an unlimited number of copies from

129

the original, each having a different name and address.
This original is prepared on a Master Model machine, and
is a perforated continuous roll of paper, similar to the
pianola record. The perforated roll containing the body

UNDERWOOD AUTOMATIC WRITER

of the letter, together with a similar roll with the names
and addresses, are inserted in the machine, a supply of
paper placed in a receptacle for the purpose, and the elec-
tric current turned on. The machine will continue oper-
ation until the supply of paper, which can be renewed as
often as desired, is exhausted. Another advantage is the
fact that the perforated roll or copy may be taken out,
changes made, and preserved for future use.

During the last four decades the typewriter has
evolved from an experimental, doubtful degree of progress
into an intensive industry, the magnitude of which it
would be difficult to over-estimate. The invested capital
necessary to conduct the manufacturing end involves many
millions of dollars — a multitude of the most expert me-
chanics are engaged in the experimental department, en-
deavoring to further improve the typewriter — many thou-

130

sands are employed in the actual manufacture of the ma-
chine— while there are armies of men all over the world
employed in the sales and distribution of the typewriter —
nor does this include the vast number of employes in the
various offices required to keep the accounts and conduct
the general office affairs of the industry. The typewriter
has also contributed greatly to the world's welfare by pro-
viding employment for hosts of typists, principally young
women, who have not only made themselves self-supporting
and independent, but have gained a higher and truer esti-
mate of their worth.

The Franklin Institute of the State of Pennsylvania,
Philadelphia, says: "The writing machine has become in-
dispensable to our business life."

The Shorthand Writer, edited by W. L. James, a man
with an extensive knowledge of the service the typewriter
renders, says: "Thomas A. Edison, no doubt the greatest
inventor of all time, never invented anything more useful
than the typewriter."

J. N. Kimball, Manager of the International Type-
writing Contests, says: "And now one last word. I said
a little while ago that the thought of Shole? had moved
the world as much as it could have been moved by the
lever of Archimedes, and I believe that is a correct state-
ment. Suppose, for instance, that all the results of that
first thought were banished, instantly, from the world,
what would be the result? It is something worth pon-
dering upon, is it not? In the first place, and as the
most immediate disaster, thousands upon thousands would
be deprived of a livelihood, people who know of no other
method by which they could make a decent living. The
wheels of trade would stop with a suddenness that would
be appalling, and no panic that the world ever saw would,
equal, in pecuniary loss, the result of the withdrawal of the
typewriter from commercial houses."

131

It would be presuming upon the intelligence of the
reader, and mistaking the requirements of the business world
to say that any one typewriter possessed all of the many ex-
cellent features known to the typewriter industry. It is, how
ever, an indisputable fact that the United States is the great
leader in the manufacture of typewriters, and the foreign
made machines are practically imitations of the domestic pro-
duct.

As evidence of this fact, from 191 1 to 1915 inclusive,
the United States exported $47,950,951 in typewriters, and
in 191 6, $9,104,189. There were no imports.

The Underwood typewriter is the only writing machine
that has been able to place the million (1,000,000) serial
number on its product, which strongly indicates its popu-
larity.

132

TYPEBARS

Diagrams showing number of parts, number
of fractional points, position of universal bar, and
principle involved in the action of the typebar.

133

UNDERWOOD

I -TYPE -BAR

2 -CONNECTING LINK

3 -FINGER KEY LEVER

/ r-1

A-FINGER KEY
B-UNIVERSAL BAR
C-CYLINDER

T- TYPE-BAR AT REST
A-ACCELERATED ACTION

TYPE-BAR
P-PRINTING POINT

I- FINGER KEY LEVER

2-CONNECTING LINK

3-TYPE-BAR (DIFFERENT POSITIONS)

4-TYPE-BAR REST (SHOT PAD)

5-UNIVERSAL BAR

6-TYPE GUIDE

7-TYPE GUIDE SIDE ADJ. SCREW

8 -TYPE GUIDE FRONT ADJ. SCREW(3)

9-SEGMENTRING

10-KEY LEVER TENSION SPRING

I ^INDIVIDUAL KEY LEVER ADJ. SCREW

12-RETAINING PLATE.SPRING AND SCREW

13-TYPE-BAR BEARINGS (ONE PIECE)

14-CONNECTING LINK BEARINGS(ONE PIECE)

15-KEY LEVER BEARINGS (ONE PIECE)

UNDERWOOD TYPE-BAR SECTION
SHOWING ACCELERATED ACTION

134

REMINGTON N96

I -TYPE-BAR

2 -TYPE

3 -TYPE-BAR HANGER

4-CONNECTINGWIRE

5-CONNECTING WIRE LOCK NUT

6- CONNECTING WIRE SWIVEL

7- LOOP AROUND FINGER KEYLEVER(TIN

8-FINGER KEYLEVER (WOOD)

fc=r:

ill,

5 — ,

A- FINGER KEY

B- UNIVERSAL BAR.
C- CYLINDER,

REMINGTON
VISIBLE

I -TYPE

2 -TYPE-BAR

3 -TYPE-BAR HANGER

4 -TYPE-BAR HANGER BINDING PLATE

5-BINDING PLATE SCREW

6-TYPE-BAR SUB LINK (3 PARTS) *4» 1

7- BELL CRANK <•> rt =^=ae

8-BELL CRANK HANGER

9-BELL CRANK HANGER SCREWS

10-CONNECTING WIRE (2 PARTS)

1 1 -FINGER KEY LEVER °

12-UNIVERSAL BARADJUSTING SCREW

A- FINGER KEY
B- UNIVERSAL BAR
C- CYLINDER

SHOWING CHANGE IN CONSTRUCTION NECESSARY IN 1 HK TRANSFORMATION FROM THE BLIND TO

THE VISIBLE WRITER.

135

INDICATING BASKET SHIFT

1 TYPE-BAR

2 TYPE-BAR HANGER

3 TYPE-BAR BEARING (is parts)

4 BALL BEARING CONE

5 BALL BEARING CONE SCREW

6 CONNECTING LINK

7 CONNECTING SUB-LINK

8 CONNECTING LINK SHEAVE

9 FINGER KEY LEVER

_ _..j

A- FINGER, KEY

B - UNIVERSAL BAR

C- CYLINDER.

LCTMITH

5ECTI0N JH0WIN6
BALL BEARING

END SECTION OF TYPE-BAR
CONTAINING BALLS

I -TYPE

2 -TYPE -BAR

3 -TYPE -BAR BEARING CONE (2)

4-TYPE -BAR BEARING BALLS (9)

5-TYPE-BAR8EARING LOCK SCREW

6- CONNECTING LINK

7- CONNECTING LINK ACTUATING LEVER

8-CONNECTING WIRE

9-CONNECTING WIRE ADJUSTABLE END

10-CONNECTING WIRE COTTER PEN

ll-SPECIAL BELL CRANK

12-FINGER KEY STEM

3 RIVITED BEARING PINS

N9I0 SMITH PREMIER VISIBLE

A- FINGER KEY

B- UNIVERSAL BAR
C- CYLINDER

136

I -TYPE -BAR

2-FINGER KEY STEM

3-FRONT SECTION CONNECTING WIRE

4-MIDDLE SECTION CONNECTING WIRE

S-INTERMEDIATE ARM CONNECTING WIRE

6-REAR SECTION CONNECTING WIRE

7-SPIRAL SPRING AROUND REAR SECTION
CONNECTING WIRE

ROYAL STANDARD

A- FINGER KEY
B- UNIVERSAL BAR
C-CYLINDER

TOP

BOTTOM

N? 10 ROYAL

1 -TYPE -BAR

2-FINGER KEY LEVER

3 -151 SEC. CONNECTING WIRE

4-FULCRUM LEVER BETWEEN CONNECTING WIRES

5-2*2 SEC. CONNECTING WIRE

6 -CONNECTING LUG

7-352 SEC. CONNECTING WIRE

8-KEY TENSION SPRING

A- FINGER KEY
B- UNIVERSAL BAR
C-CYLINDER

137

I -TYPE

2- TYPE-BAR

3-TYPE-BAR RETURNING SPRING

4-TYPE-BAR HANGER

5-TYPE-BAR HANGER SCREW

G-HANGER BINDING PLATE

7-SUB CONNECTING LINK RETAINING CLIP

8-SUB CONNECTING LINK RETAINING CLIP

9-CONNECTING LINK A

IOFINGER KEY LEVER

A-FINGER KEY
B-UNIVERSAL BAR
C-CYLINDER

INDICATING BASKET SHIFT

MONARCH

CP^F

B\»

f - TYPE -BAR

2 - TYPE -BAR FASTENING SCREW- REAR

3- TYPE -BAR FASTENING SCREW-FRONT

4-TYPE-BAR BEARING

5- CONNECTING LINK

6 -SHOCK ABSORBER

7- FINGER KEY LEVER

A- FINGER, KEY
B- UNIVERSAL BAR
C- CYLINDER.

SIDE VIEW OP TYPE-BAR

*"-5TT)

138

I -TYPE -BAR

2-TYPE-BAR DRIVING ARM

3-TYPE-BAR DRIVING ARM LEVER

4-BELL CRANK

5- BELL CRANK HANGER

6-B- ADJUSTING SCREW

7 — \- RETAINING PLATE

NOISELESS

■L— RETAINING PLATE SCREW
-r-INTERM. LEVER
— A -SPRING
K-CAM

8-
9-

10-

II-

12-UPPER SECTION CONNECTING LINK

13-ADJUSTING SECTION CONNECTING LINK

!4-L0WER SECTION CONNECTING LINK

(5-RETAINING PLATE •• >

15 FINGER KEY LEVER (2

16 RIVETS AND

13 FRICTIONAL POINTS

A-FINGER KEY
B- UNIVERSAL BAF1
C -CYLINDER,
D - STEEL PRINTING BAR.

VICTOR

•FINGER KEY LEVER
■UNIVERSAL BAR
•CYLINDER

■TYPE- BAR
2-(Al CONNECTING LINK
3 -(B) CONNECTING LINK
4-(0 CONNECTING LINK
5-(D) CONNECTING LINK
6-MAIN CONNECTING LINK ADJ. SCREWlZl
7- MAIN CONNECTING LINK ADJ. SCREW PLATE
8-SUB-CONNECTING LINK RETAINING WIRE
9-UNIVERSAL BAR ADJUSTING SCREW
10-TYPE -BAR HANGER (2)
1 1 -TYPE -BAR HANGER BINDING SCREW
12-TYPE -BAR HANGER ADJ. SCREWS (2)
13-TYPE -BAR HANGER ADJ. SCREW PLATE

139

1 -TYPE-BAR

2 -TYPE

3 -TYPE BAR HANGER
4 -CONNECTING WIRE

5 LINK

6-n « «i •!
7

FOX VISIBLE

ADJUSTING CLIP

SCREW

8 -FINGER KEY LEVER

9 -UNIVERSAL BAR EQUALIZER

10- » »

12-KEY LEVER HANGER

A- FINGER KEY LEVER
B- UNIVERSAL BAR
C- CYLINDER

D- RIBBON SHIELD

OPERATING BAR

1 TYPE-BAR

2 TYPE-BAR HANGER (4 parts)

3 TYPE-BAR HANGER SCREW
A TYPE-BAR RETAINING PLATE

5 TYPE-BAR RETAINING WASHER SCREW

6 CONNECTING LINK

7 SUB CONNECTING LINK

8 FINGER KEY LEVER

STEARNS

A- FINGER KEY
B- UNIVERSAL BAR
C- CYLINDER

ENLARGED VKWQF
HANGER SHOWING
VSHAPE BEARING

140

I -TYPE
2-TYPE-BAR

3- «' » ANCHOR UNR

4- » " RETURN SPRING
5 ACTUATING LEVER (2 PARTS)

6- ACTUATING LEVER HANGER

7- •• SCREWS (2)

8- • " " CONNECTING LINK (3 PARTS)
9-CONNECTING LINK BELL CRANK
10- BELL CRANK HANGER
II SCREW CAP

12-key Lever connecting link (3Parts)
13-key lever

14- •' •• separating washer

-A

YOST MODEL"A"VISIBLE

A- FINGER KEY
B-UNIVERSAL BAR
C- CYLINDER

ELLIOTT- FISHER

I -FINGER KEY LEVER

2 FULCRUM

3-UPPER CONNECTING LINK

4-BELL CRANK

5 -INTERMEDIATE CONNECTING LINK

6 -LOCK NUT

7- «

8-LOWER CONNECTING LINK

9 -TYPE -BAR

10 FULCRUM

M-TYPEBLOCK

12 -TYPE ( UPPERCASE)

13" " (lowercase)

14-UPPER CASE SHIFT LOCK
15-SHIFT LOCK TENSION SPRING
16-TYPE-BAR TENSION SPRING
17-TENSION SPRING COLLAR

9 FULCRUM?

O-A

A-FINGER KEY
B-3 UNIVERSAL

( NOT SHOWN )

C- PLATEN

141

1 TYPE

2 TYPE-BAR

3 TYPE-BAR HANGER (2 parts)

4 TYPE-BAR HANGER SCREW

5 TYPE-BAR BEARING PIN

6 CONNECTING WIRE 2

7 CONNECTING WIRE LINK

8 CONNECTING WIRE LINK ADJUSTIN6 NUT

9 FINGER KEY LEVER

10 KEY LEVER TENSION SPRING

BAR-LOCK

A- FINGER KEY
B- UNIVERSAL BAR
C- CYLINDER

-'-■•■-v^-i

TYPEBARS'OF FOREIGN TYPEWRITERS, PAGES 115, 116, 117.

TRIUMPH

I -TYPE -BAR

2 -CONNECTING LINK

3 -FINGER KEY LEVER

A-FINGER KEY
B-UNIVERSAL BAR
C-CYLINDER

MADE IN GERMANY.

142

I -TYPE-BAR.

2 -CONNECTING LINK

3- FINGER KEY LEVER

CONTINENTAL

A- FINGER. KEY
B- UNIVERSAL BAR.
C - CYLINDER,

M u>' IN GERM \X V.

URANIA

I -TYPE -BAR
2-CONNECTING LINK
3-FINGER KEY LEVER

A -FINGER KEY
B- UNIVERSAL BAR
C -CYLINDER

MADE IN GERMANY.

143

STOEWER

1 - TYPE -BAR

2 - CONNECTING LINK

3 - CONNECTING LINK STUD COLLAR

4 - FINGER KEY LEVER

;.'::

iff '....

A- FINGER KEY
B- UNIVERSAL BAR
C- CYLINDER

MADE IN GERMANY.

TORPEDO

f{~\<

I -TYPE-BAR

2 -CONNECTING LINK

3 -FINGER KEY LEVER

I •

[ftj A- FINGER KEY

fill B-UNIVERSAL BAR

X\\t

D- RIBBON UNIVERSAL BAR

MADE IN GERMANY.

144

TYPE- BAR.
2 -KEY LEVER PART "A".
3- KEY LEVER PART "B".
4-KEY LEVER FULCRUM HANGER.
5-HANGER BINDING NUT.
6-KEY LEVER "A" STOP SCREW (2).
7- KEY LEVER "A" FULCRUM.
8 -KEY LEVER "A" SPRING.

A- FINGER KEY LEVER.
B- UNIVERSAL BAR.
C- CYLINDER.
D- TYPE-BAR GEAR ACTION

MADE IN" GERMANY

JAPY |

I -TYPE

2 -TYPE-BAR

3 -TYPE-BAR HANGER

4 -TYPE-BAR HANGER PLATE

5-TYPE-BAR HANGER SCREW

6-TYPE-BAR CONNECTING WIRE

7- BELL CRANK BRACKET

8- BELL CRANK BRACKET SCREW

9-CONNECTING WIRE-BELL CRANK

10-FINGER KEY LEVER CONNECTING WIRE

1 1 -FINGER KEY LEVER CHECK NUTS (2)

12-FINGER KEY LEVER COUPLING

13-FINGER KEY LEVER Y

14-UNIVERSAL BAR ADJUSTING SCREW

A- FINGER KEY

B- UNIVERSAL BAR

C-CYUNDER

MADE IN GERMANY.

145

I - TYPE -BAR .

2- TYPE -BAR HANGER

3- TYPE -BAR HANGER SCREW |

4 -CONNECTING LINK

S- CONNECTING LINK WIRE

6 - CONNECTING LINK WIRE SCREW

7 - FINGER KEY LEVER

6 -KEY LEVER SPRING RETAINING SCREW

IDEAL

A- FINGER KEY

B- UNIVERSAL BARS (4)

C- CYLINDER

MADE IN GERMANY

ESCAPEMENTS

/ 1

j i UNIVERSAL

i j /BAR

! ! *

ESCAPEMENT

ILLUSTRATING UNIVERSAL BAR OPERATED BY TYPE BAR

FOLLOW THE ARROWS.

146

ESCAPEMENT

ILLUSTRATING UNIVERSAL BAR OPERATED BY CONNECTING LINK

ESCAPEMENT

UNIVERVAL BAR
ILLUSTRATING UNIVERSAL BAR OPERATED BY FINGER KEY LEVER

147

LINKS

A CHAIN IS NO STRONGER THAN ITS WEAKEST LINK.

C^^^

UNDERWOOD

LINK

L. C. SMITH

LINKS

40 2

J-L

148

^^^2=1

REMINGTON

149

KEYBOARDS

4 3 2 1 112

/backn m f*\ f^\ (7°\ r~-\ r^\ c^\ (

w ww ww Wvl/w v

4 3 2 11112

(

)( i /tabular)

3 4

'"~\ /■ — \

@®3©®©®©Ci

v / — N. •"T^N

4®Q@©©®®.(

©®®©®®®(E

)(

D0©

|" SPACE BAR

' )

UNIVERSAL KEYBOARD.
SIKGLE SHIFT KEY ON EACH SIDE.

DOUBLE OK "DUPLICATE" KEYBOAIiD.
A KEV FOB EACH CHARACTER.

ISO

* 3 2 I I | | 2 3 4

WQQQ^QQQQO

SPACE BAR

DOUBLE SHIFT KEYBOARD.
THREE CHARACTERS ON SACS KEY.

ALLEN KEYBOARD.

ILLUSTRATING ON'. OF MANY SUGGESTIONS CONCERNING THF ARRANGEMENT

OF A KEYBOARD.

ISI

INDEX

PAGE

Addendagraph 128

Adler 113

Automatic Writer 128

Bar-Lock 33

Beach 11

Blickensderfer 47

Blick Electric 48

Bookkeeping Machine 127

Brooks 17

Burt 9

Business Evolution 5

Caligraph 29

Columbia r 33

Contest Records 98

Continental 115

Cooper 14

Corona 112

Daugherty 61

Densmore 35

Duplex 54

Eddy 13

Edison 114

Elliott Cresson Report 71

Elliott-Fisher 55

Empire 113

Escapements 147

Fairbank 11

Fay-Sho 50

Foreign Typewriters 115

Foucauld 12

Fox 52

Francis 15

Franklin 49

Gathright Tabulator 119

Gorin Tabulator 119

pagp:

Grundy 61

Hall 15

Hammond 31

House 16

Hughes 13

Ideal 116

.Japy 51

Jones 13

Kanzler 116

Keyboards 125

L. C. Smith & Bros 81

Leavitt 11

Links 124

Littledale 11

Manhattan 49

Marchesi 13

Maskelyne 117

Mercedes 116

Mill 8

Monarch 84

New Century 47

Noiseless 109

Oliver 56

Peerless 53

Pratt ty

Progin 10

Prouty 60

Remington 22

Remington No. 10 99

Remington Sholes 50

Revolving Duplicator 114

Royal No. 10 107

Royal Standard 105

152

PAGE

Sholes, C. L 19

Smith Premier 43

Smith Premier No. 10 102

Special Machines 127

Speed Contests 37

Speed and Accuracy Con-
tests 87

Stoewer 116

TabulatoVs 118

Thomas 14

Thurber 10

Torpedo ..^416

Triumph 117

Typebars 121

PAGE

Typewriter Evolution .... 8

Underwood 62

Union Typewriter Co 44

Universal Bars 124

Victor 112

Visible Writers 60

Wellington 113

Wheatstone 12

Williams 46

Yetman 51

Yost 36

Yost Model A 103

153

ILLUSTRATIONS

PAGK

Addendagraph 128

Automatic Writer 129

Bar-Lock 35

Beach 11

Blickensderfer 48

Bookkeeping Machine .... 127

Brooks 17

Burt 9

Caligraph 30

Cooper 14

Densmore 36

Eddy 13

Elliott Cresson Medal 74-75

Elliott-Fisher 56

Foucauld 12

Francis 15

Growth of Underwood Fac-
tory 77

Growth of Underwood Pro-
duct 76

Hall 16

Hammond 33

House 16

International Trophy 88-89

Jones 13

L. C. Smith 84

Manuscript copied by Mr.

Trefzger 97

Margaret B. Owen's work

1916 92

Margaret B. Owen's work

1917 93

Measuring time 7

PAGK

Miss Margaret B. Owen.. 92-93

Miss Rose L. Fritz 90-91

Monarch 86

Noiseless Ill

Oliver 59 ,

Perfect page (G. L. Hoss-

feld) 95

Perfect copy (Rose L.

Fritz) 42

Printed copy used by Mr.

Trefzger 96

Progin 10

Prouty 60

Remington No. 1 22

Remington No. 6 28

Remington No. 10 101

Rem-Sho 50

Royal No. 10 108

Royal Standard 106

Sholes-Glidden 21

Sholes, Glidden & Soule. . . 19

Smith Premier (blind) .... 44

Smith Premier No 10 103

Thomas 14

Thurber 10

Toronto Contest (Cal.) .... 40

Toronto Contest (Rem.).. 41

Underwood 64

Bearing 66

Type-guide 67

Marginal Stops 67

Tabulator 68

Universal Bar 68

Escapement 69

IS4

NLOI

C» Suitfe 135

t ■■ e \ q .

Royal v- •-■ -;

I .: f

138
Stnras .:

Ffcte

141

^ VUCT

I Q
. .. M
■ )

■ s S

c - ■• ■ •

C S •' : '

Royal L48

x .-.:•:.' ■ 14S

K I -

I ■ - . sal

t S • I

</> o

-• o

= 3

s o

° z

750

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